Society and its dynamics are of vital motivation in my work. Trying to explore its orders and the structures that make us behave in a given way generates reflections about power, politics and micro-politics, and culture as a construction, within a dimension that on many occasions connects with different past events. Therefore, the study of communication has been the main foundation of my work. The processes of construction, assimilation and transformation of language, and the way text and lexicon function as catalysts of social behavior and imaginary, are truly interesting to me. That is one of the reasons I have repeatedly used text as a synthetic and effective way of addressing the audience. My current research also delves into censorship and censored objects.
I question myself the role played by the artist within society in terms of participation, as I consider it as a special researcher who underlines and points out inoperative or dysfunctional aspects of his reality. In this sense, a considerable part of my work is inspired and informed by a contextual experience that concerns me for being part of a specific moment in the history of the world, the country, the city, the micro-spaces.
Many of my proposals appeal to the logics of process-based art. My concerns regarding the access and consumption of the work are defined above all, by the interest in the object as material giving sense to previous research, actions, interventions, performances. Intervening objects, amplifying their ethical and aesthetical significance, and working with found messages, magazines, documents and slogans, as well as with other material and conceptual elements from ordinary life and popular culture, is something highly inspirational for me. It greatly calls my attention the social and fetishist loads carried by the object, defined by its use, history and contexts originating it. Other media such as video, video-installation, photography and collage have also been expressions of my art practice.