RED DOOR 24

-I am very interested in hearing
about your influences, because
when I took your Domestika
course, I was surprised you
didn’t simply mention those in
your field, but also great influences
in journalism, film and
poetry, such as Whitman, Nick
Cave, Jim Jarmusch, Bill Murray,
and of course, Burroughs.
Tell me how these have marked
your artistic career:
I distinguish between references
and influences. For an attentive,
sensible person, almost everything
can be an influence, in
the sense that it influences their
perception of reality, or better yet,
it collaborates in its construction.
This is valid for people, objects,
scents and music. Anything that
could result in an influence after
being processed, and in a more or
less evident way, will appear, later
on, in their work.
To my understanding it is very
enriching to have the maximum
access to influences. As I believe
we are, essentially, cultural subjects,
the higher the number of
influences, the richer our personality.
Influences that are contradictory
or distant must find a pact
to cohabitate, and this is where
something different can surge,
something unique, that is to say,
something new. To be grossly illustrative
in a professional aspect:
If our only influence is Picasso, we
will only paint fake Picassos.
When it comes to references, it’s
a different subject. Our referents
have deeper draught, they get
installed in our personality and
help arrange our influences. Here,
it could be psychotic to have too
many of them. Just like parents,
it’s not that convenient to have so
many. In my case, my references
are mainly two: Marcel Duchamp
and William S. Burroughs. (I know
not which is the mother and
which the father). In spite of their
obvious differences, they make
cohabitation very easy: They add
the accent on all of which they
share in common.
Why are my references important?
In reality, I think in a semi-conscious
way, they are, for all of us.
I think that for the majority of
people, referents do not belong
to the world of fiction, they are the
parents, the relatives, the school
teachers. Obviously, of my referents
I only know the characters,
not the people. This is probably
due to the lack – if not full absence
– of real referents in my
life. It seems to me we cannot live
without referents, due to, in one
way or another, all of life having
to do with limits and aspirations.
If one doesn’t have referents, one
must build them.
-Your work can also be found
in museums and private collections
in various countries. Do
you have plans for upcoming exhibitions,
books or other types
of publications and projects:
Right now my work can be seen
at the Museum of Decorative Arts
(Kunstgewerbemuseum) in Germany,
until the beginning of November,
as part of the Common-
Knowledge curatorial proposal
started in Ljubljana. Recently another
exhibition I was a part of,
“Human, Beyond Data” organized
by the SND-E in Pamplona closed.
The current issue with Covid frustrated
other exhibition plans and
the upcoming future.
However I am working on an
ambitious exhibition for next
year in Etopía, Zaragoza, Spain,
where my most material work will
go hand in hand with the latest
technologies, in a frame of the
immersive, almost theatrical. I
am also developing other forms
of my work that I am passionate
about, such as theater, with a play
starting next month in the Teatro
Romea, in Barcelona, a combination
of spoken work, my art, and
music.
There’s always something to
learn, something to grow with.
Visualization of 50 handfuls of confetti
thrown by 50 people on the artist’s
50th birthday. The colors represent:
Blue =health, Green=wealth and
Red=love
as categorized wishes from his friends.
ISSUE #24 - VISUALIZE - FALL 2020 13