Fuente: nastymagazine.com

Entrevista por Annalisa Fabbrucci
Editado por Maria Abramenko


We immerse ourselves in a realm of alternative visions, interweaving, and articulations capable of transporting us to different dimensions. The artist invites us into their mind, making it explicit that art and creative expression are meant to transcend conventional frameworks, eliciting even uncomfortable sensations that are crucial for dismantling conscious classifications. Psyche, science, technologies, life… we stand before a diverse alignment of elements, the essential discovery of an artistic talent that knows how to take our minds on journeys.

Question: Considering all the feedback you’ve had during your career, do you still perceive a noticeable mental closure of the society in front of particular and taboo themes? What would you let clear and evident with your visual creations?

Answer: It would seem people do not like talking about uncomfortable things. Or most people do not like to be disturbed, have their values questioned. My work deals with constructing new realities, speaking from a place of queerness, chronic illness and speculative futures coming from the Global South; I used to get told a lot that there were more “positive” ways to frame my research. My response over the years has evolved, and like myself, I’ve managed to see my work outside of many binaries (positive/negative, fictional/factual, and so on); just because things are the way the are, that does not mean this is the *only* possible configuration for desire, or progress. Instead of thinking through a logic of opposition, I’ve grown into thinking in terms of difference. This is also challenging, because modern thought is intrinsically binary. It is always making value judgments in favor of capital, or efficiency and productivity. Paul Preciado mentioned at a recent talk in Bilbao “to defy binary thought is to enter psychosis”, and for the modern neurotic this is often undesirable, letting go. Now I think of my work as a kind of trap: through the use of rather sensual and alluring materials like glass, or dynamic compositions, my audience is enthralled, like some kind of unconventional ritual. Once they are in my world, then they are confronted with alternate truths, new potentials and possibilities. Surprise.

Q:Share your most significant unpopular opinion that you wish could be normalised.

A:The idea that artworks are good because they are “relatable”, or because they represent a “community”. Of course visibility is essential, but this obeys a reactionary logic: we can only extend our understanding if we see ourselves in what is in front of us. A logic based on the acceptance of difference, of unconditional love is beyond identification. Maybe something extraordinary about the work is its uniqueness, the specific conditions which constructed a subjectivity able to bring forth art that shakes these foundations.