Wood and pintura yellow paint.
Variable dimension wall. Door: 90 x 70 x 237 cm.

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Starting from a recognizable visual image, a sculptural device is built that causes the sensation of deception (*) in the viewer. The introduction of anomalies that alter the expectations of the piece creates fertile misunderstandings. With its resounding visual presence, it is ironically alluded to the impossibility of reaching the objective of representing the unrepresentable, as well as the fascination with chromatic reductionism as a symptom of the silence tracked by avant-garde artists. The piece constitutes a nonsense or a double meaning, a suspended action that causes intense areas of attention. Vivid color aims to attract the viewer, catch them, while alerting them to the visual and physical presence of the object and forcing a connection with the literalness of the title.

“It is not so much about inventing a maneuver, an original tactic, as it is about strategically hiding the information through a disinformation procedure that is not so much a falsification, the proven lie, like the abolition of the very principle of truth … This relativism, a phenomenon of pure representation, is always present in the appearance of events, of things present, by the very fact of the subjective interpretation necessary for the recognition of the forms, objects and scenes that we are witnesses to. “

Paul Virilio. The strategy of concealment

Nylon curtain, slide projector, slide image, zoom focus and presence detection system. Variable size.

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The astrophysical phenomenon of black holes is as mysterious as it is attractive. A portion of immeasurable space constitutes a pole of attraction that engulfs everything that approaches its event horizon. And all because of a huge concentration of mass in a space too small for her. A dark space that exists as it absorbs light.

This installation works in a similar way. The projection of a trap image suggests the need for the viewer’s gaze for the complete existence of the work. In this case, the image of a black door that has turned on itself, leaving a portion of its path to complete, is the object that needs light to exist and absorb the subject. A physically impassable door, projected onto a screen in the middle of the space.

Upon entering the room we see a circle of light projected by a clipping spot behind the screen. When someone approaches this circle, it is captured by a sensor that activates the blackout of the spotlight and the subsequent turning on of a projector with the image of the false door. Interference from viewers on either side of the projection plane creates shadows that define the potential absorption capacity of this particular black hole.

Photography (150 x 100 cm), electrical lamp, vinyl text and authomatism.

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This piece aims to provoke reflection on the conditions of perception and interpretation of the artistic fact by the viewer.
From the photograph of a previous work (the backlight of a sphere in a domestic interior, in front of a window), a kind of metaphorical eclipse is recreated. The photograph is illuminated by a globe of light that falls in front of it from the ceiling, and carries on its surface the definition of the word eclipse taken from a French dictionary.
When a spectator approaches the piece to read the text, he unintentionally activates a presence detector that turns off the light with a fade, not allowing the definition to be read completely. In this way, the eclipsing of the visual perception of the work is produced and, likewise, the possibility of experiencing the real meaning of the piece from its negation is offered . After a few moments of uncertainty and darkness the light suddenly comes back on.

Fan, electric light, fabric and screen printing. 150 x 150 x 467 cm

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When I changed my shop some time ago, I found a safety label used by companies that handle dangerous substances. The sign said: DANGER. TAKE CARE OF YOUR EYES; Someone had crossed out the word take care and had the word use etched in its place. It seemed to me an anonymous act very rich for its metaphorical potential. So, after a couple of years, it occurred to me to recover that detail recorded in memory to make this piece.

A ceiling fan and a light bulb installed above it turn on periodically every minute, staying active for about three minutes; the fan rotates at a much slower speed than usual and an orange curtain hangs from it, enclosing an interior space and inscribed with the safety warning. When someone peers through the opening left by the curtain when rolling and decides to enter, they discover that inside the fabric is military camouflage and, if they observe those characteristic green spots for a short period of time, they stop contemplating that forest that surrounds it, to be dragged towards an optical fading due to the kinetic nature of the spots, fulfilling the proclaimed warning.

This work aims to go beyond pure visuality, generating from it a critical position against urban violence, which is also often identified from aesthetic components: the color orange or the military fabric used in the clothing of some violent groups. A certain strategy of concealment is used, in the sense determined by Virilio, as a countermeasure taken against the threat; Such a countermeasure essentially depends on its apparent nonexistence and its effectiveness is based on the ability to camouflage itself within the enemy domain without raising any suspicion.