I do not know where I am going, I do not know. The difference between the physical and the cognoscible distance is frustrating. The need to belong is frustrating. That makes me furious most of the time. Wishes derail the world, and people are defeated figures on the verge of ridicule. That is how I feel. I am obsessed with possibilities, with the fear that something may happen.
I think that my artistic work deals with individualisation and with how we construct a reality about the moments we lived by selecting information subjectively. The decision on what to preserve and what to dismiss is always made alone, finding relief or disappointment later, when we verify that others had chosen the same options as we did. We naturalise those choices, and– being apparently sincere–they enter solidly into our personal culture.
My aim is to confront with the spectator for a brief period, to confuse them, to establish a sort of farce. Construction in my work is confrontation, that is why I use verisimilitude, that is why I choose life size for my photographs. There are traces, anomalies, strange data, parts that do not fit into a real situation.
In my previous photographic work I was engaged in the idea of a romantic date as a talk on prejudices. A date is perhaps the only situation in which people evaluate the possibility of letting a foreigner into their closest circle.
Probably there is not another moment when we are so jealous of a choice. That is where the strongest prejudices are articulated. A date is an evaluation, an interrogation, disguised as an unexpected opportunity for excitement. It is a kind of pleasant perversion. Possibly that way of thinking leads me to believe that physical distance is minimised by knowledge. I thought I was moving forward to a different thing, but now I realise that it was never a diversion. It was a necessary moment in the search of my own language, a thought still present in my work.
I definitely have a manipulative side that finds pleasure in spectators’ doubts. Manipulation has become one of my most important work methods. In my current works, cinematographic construction techniques are decisive. I took photographs and filmed many people and settings in faraway places to get information that I found unnatural. I wanted to feel the hostility of being the outsider, of not belonging.
I do not know where I am going, I do not know, but I perceive a movement, like the sensation of slipping on sand toward dead.