Statement

My work derives from drawing and sculpture and in the past few years it has turned into a multidisciplinary approach to art practice. Since 2006 I have produced installations, electronic time-based media, site-specific and public art interventions, while orchestrating participatory situations that engage voluntary and involuntary audiences.

Most recently, I became interested in exploring the notions of planetarity, coexistent encounters and alterity: between individuals, places, beliefs and particular dynamics of a given the context. By enabling trans-local exchanges that promote intimate encounters between individuals, I am seeking to activate a multidirectional and non-discursive relational dimension where audiences, artist and artworks affect one another.

I see participation as co-production of concept-gestures that can be mirrored, shared, re-imagine and re-produced. My previous projects include a collaborative ‘video-map’ that challenges geography and traditional forms of cartography, by reinventing the duality between Northern and Southern hemispheres. This project involved participants from 10 different countries who helped to turn the world upside down through a single action-gesture. Also, I constructed an independent, ephemeral and disposable art museum on the top of an unfinished community center in a marginalized area of Bogotá, dedicated to exhibit reproductions of relevant artworks from western art history.

Ranging from installation and public art to participation, from electronic and time-based media and interactivity to contextual practice, my core research areas include: (1) the phenomenon of geography (notions of place) in the formation of ‘global territory’, ideals of belonging and strangeness. (2) The potentiality of the intangible (air, space, simultaneity, affect, ideologies, and participation) as form of metasphere that shapes a new kind of public space and materiality for cultural production and communication. (3) The application of artistic practices as an instrument for social action.

My approach to these topics is located at the cross between artistic theory and practice, cultural management and audience studies, and, most of all, the interconnection between technology and contextual art practice.