I define my art practice as performative drawing. I explore drawing as a result of performative processes, where I focuse on the act of drawing and the role that my whole body plays in it. Body, gesture, expresiveness, physicality and movement are key factors in my work, and markmaking and traces are a visual expression of movement-based thinking. I have deliberately chosen to work exclusively with drawing materials and a black and white aesthetics. In this sense, I use drawing to reflect on, and challenge, the very concept of drawing. However, I am also interested in challenging boundaries between media. Every work is a drawing, but also a performance, a video and an installation. All of these media have a fragile and changeable nature in common with the mechanics of my artistic procedures.
From a young age I showed interest in drawing, dance, rhythm, yoga or meditation, which had a significant influence in my artistic practice. Aside from a reflection on drawing, my work also addresses themes of zen, meditation, and mindfulness, as my methodology is not focused on obtaining a preconceived final image, but rather I let the drawing process guide me. Spontaneity and chance play an important role in my process. When I create, I immerse myself fully in the present moment, paying full attention to my body and emotions.
My creative process is an oscillation between pairs of opposite concepts, such as intuition-reasoning, personal-universal experience, figurative-abstract, geometric-organic, presence-absence, trace-tracker, or, most importantly, control-randomness; exploring the possibilities and tensions in between these concepts. The making of my drawings is often based on repetitive movements inspired by personal experiences that can be extrapolated to anyone else's. It usually involves as well the use of objects linked to my personal life or the history of the exhibition context, and which now have become tools that facilitate a dialogue between my body, the materials, a particular space and the resulting work.
Mediation of space is also an important idea in my practice, wherein concepts such as time, body and space play an important role. This interest in space mediation lies on the idea of geography as an artificial construction based on the balance of different hegemonic global powers operating over the individual, and it is materialized in site-specific works where the combination of my performance and the specific features (architecture, history, etc.) of a particular context determine decisively the final appearance of the work. In other words, the resulting work is always a combination of the trace of my body performing on the paper and the specific features of a particular space, which also influence the final result. Drawing, video and performance are different devices of registration that leave an indexical trace of the spaces I produce with my body.
My performative drawings often involve audience participation. I seek to challenge the notion of ‘authorship’ by making collaborative artworks and participative performances. In these, I set certain rules for the performance, but it is the audience who creates performative drawings by tracing their interactions and improvisations while working as a team. These works aim to act as a statement against the individualistic attitude that I identify as a tendency with a negative impact in societies operating under the global neoliberal system, and in turn emphasise cooperation, collectivity and collaboration.