What made you want to become an artist? What motivates you to create? 

The need to name diverse intuitions in a symbolic way. There are many things that are impossible to define with functional language so the only way to access this hidden reality is through new forms of language (poetic, musical, visual), which can only be produced in a creative context.

In this way, as an artist, my intention and my motivation is to connect people with deep and ancient emotions and to allow them to reflect on their own existence, critically. Art is not to be indifferent to the world.

 

You are a poet, a musician, an illustrator….a real renaissance creator… Any media that you prefer using?

I am a poet and experimental musician. I generally work in radio art, poetry, video, photography and digital media. Depending on the nature of my projects, I can work with all these media at the same time or I can combine those that I find more suitable and expressive for the idea I want to develop. However, lately I have been more dedicated to experimental music and video art.

 

How did moving from one place/continent/country to another influence your work? Tell us a bit more about your inspiration. … Where do these fascinating ideas come from? 

In reality, the category of immigrant artist allows those who live it to have the capacity to resist and survive in the midst of a dominant culture of which they are not a part. You have to learn to survive within a hegemonic cultural milieu of which you are not a part, despite the good intentions that are apparently said. So my radar of ideas is always permeated at the same time by a sense of both absence and resistance.

This in the internal sphere, because externally, living in different countries and continents has allowed me to broaden my aesthetic base by witnessing infinite cultural manifestations, from the most religious to the most profane, for example. In short, there are two forces in motion, the one that observes and nourishes and the one that processes and creates.

 

To what extent has your everyday life as an artist and your art practice changed because of everything that has happened in the last couple of years? 

Under the context of the latest world events, the possibility of being in contact with other artists, learning from them, generating work networks, or simply sharing experiences, was something that was quite restricted. Being locked up in the studio is not everything, human contact is fundamental for the development of new ideas, both personal and collaborative.

 

How do you feel about being involved in an online residency program? How important is it to stay connected with the international art community?

In a residency context, being a participant in the creative processes of others allows us to learn and therefore experiment with new ways of working. In this sense, I think that as artists we should have an attitude of resistance to the logic of production that puts its interest in the final product and not in the processes that lead us to it.  Leaving evidence of these intermediate processes favors reflection on our own work, allowing us new areas of experimentation. And furthermore, if we can share our experiences about what our creative processes are like, it would lead us to evaluate what is more profitable or valuable to the detriment of those practices that are not, especially in an international artistic context, where practices tend to be more diverse and therefore more enriching.

 

What are your thoughts about the theme ‘artist on standby’? Tell us a bit more about your project…

My project contemplates the search, recording and organization of diverse sounds obtained from listening to SW frequencies outside the range of official radios. The idea is that I can later use this sound bank to create sound pieces for radio art or soundscapes, among others. Along with this listening work, I want to write a theoretical text that will give an account of my research, the method used and the ideological aesthetic position that underlies this proposal.

 

What do you want to achieve in the near future? Any  plans/projects?

At the moment, I am concentrating on the exploration of sounds that are close to us but to which we do not pay attention. I am referring, for example, to the sounds that we can find in the intermediate zones of the different radio signals, especially in the SW frequency, a place where one can catch very interesting sounds and textures. I want to incorporate this material in my sonic works. From an ideological point of view, these unwanted frequencies come to be the sonic dissidence within the hegemonic discourse of disposable music offered by the radio stations. My current researches go in that direction.