My art practice is anchored in a socio-political study of communication and language as impacted by power relations, politics, and micro-politics. 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 particularly delves into censorship, censored objects, and protest, both in democracies and totalitarian regimes.
I mainly use objects, sculpture, installation, video, video-installation, and photography to address my concerns. It greatly calls my attention the social and fetishist loads carried by the object, defined by its use, history and contexts originating it. Modifying objects, thus amplifying their ethical and aesthetical significance is central to my practice. Working with archive material, as well as with other elements from ordinary life and popular culture is also crucial to me.
I am interested in a process-based approach to work. My art-making processes and their performative component are frequently included as a meaningful part of my projects in which I often invite interaction from the audience. I question the role played by artists in terms of participation within society as I consider them special researchers who underline dysfunctional aspects of reality. Accordingly, my work is thus informed by the context—the here and now: this precise moment in history, in the country, the city, and the spaces.