Conceptual poetry
For the passed 15 years I have been working on my Blindness collection, which explores throught the appropiation of advertisement imagery of seemingly perfect symbols of a standard of beauty in contemporary society, and deconstruct this seemingly perfect image to create a contrast between consumption and technology.
This new body of work, creates a bridge between my conceptual work, that has last been seen in 2015 in the exhibition “War, Consumption and Other Human Hobbies”, and the vision of my work in the present time, Simplifying all the elements that I have been exploring and analyzing, adding a more personal message, with writings and archives that I have been collecting throughout the years that are also the fundaments of my artistic expression.
For years I questioned how I could simplify my work, and instead bring forward the hidden messages that were behind the bold images.
I also analyzed how I could visually deconstruct all the information overload and the visual pollution that surrounds us. In a world where media acquires relevance and our lives are dominated by social media.
Conceptual Poetry, is the foundation of my exploration of using language as the material and transforming the appropriation of advertising and light into the appropriation of language. To whom words and language belong to? Each of us owns the interpretation and the means by which we relate to them. However, in reality, are we the owners of those moments, or is language a part of the manipulation? When we see a word, what do we feel? What do we think of it? Does that moment transport us somewhere? And does our perception change when the word is larger or smaller or changes color or shape?
In conceptual poetry I propose a search from simplicity and irony, creating a door for the viewer to connect with themselves using verbal codes, proposing a dialogue with themselves through questions about issues of our socio-cultural environment such as politics, stereotypes, power and society of cosumerism.
In these new bodies of work, there is a fine line where traditional materials such as paint, wood, clay, and paper are the support of language and words are the connectors between them, an open book without a cover where the viewer organizes the words freely to create their own story through mirrors, pieces of clay that fall from the sky or words that appear in the works impulsed by air.
