Inspired by pine processionary caterpillars I once encountered in Spain, this series of works explores the elemental forces that govern the realms of biology, the microcosm, and the atomic and subatomic scales. I am interested in the threshold at which matter becomes organic. This is also where language begins: in the act of structuring fluid, boundless matter into self-sustaining units that interact with their surroundings and reproduce themselves.

The imprints of stones function as a metaphor for the paradoxical human condition—unique, yet interchangeable. Here, they appear to engage in a strange dance on the stage of contingent, chaotic matter. To extrapolate from biology to psychology is a hazardous endeavor, yet it is undeniable that humans, too, are biological organisms.

See a production video here, and a presentation video here.

Speaking Stones is a compilation of paintings made with imprints of ordinary stones.

I see the stone as a metaphor for popular struggle and protest. It is the closest available weapon to the powerless. Throwing stones is a symbolic form of violence. The aim is not to overpower the opponent physically. It demonstrates defiance in the face of power by expressing concretely that the premises of the situation aren't acceptable. The stone speaks but not in a language open to negotiation or dialogue. A conversation means accepting the context in which it takes place and is thus always, to a certain degree, a form of submission. The language of stones is the language of mute matter. A form of silence that nevertheless speaks clearly and directly. The stone represents the resistance in itself from a place outside of language.

The stone is an entirely exchangeable and ordinary object that exists everywhere. At the same time, each stone is unique and has its own beauty and unfathomable mystery for anyone open to seeing it. This duality fascinates me. A stone is perhaps the closest we can get to a thing-in-itself, bound as we are to language. It is sealed around itself, oblivious to the outside world. It simply exists. In a way, we can never truly understand. It is infinite in its everydayness, specific and concrete in its presence.

Res Ipsa is a compilation of works made by an act shaping the filler once it is prepared inside the frame. The works thus function as a recording device and give a statement of the event taking place while the filler was still wet.

Res Ipsa is Latin for "the thing itself" and is part of the juridical term "Res ipsa loquitur" (the thing speaks for itself), used when an injury or accident in itself clearly shows who is responsible, such as an instrument left inside a body after surgery.

Spread is a compilation of work made by spreading the filler along the depth of the rim with a scrape. Letting a single action shape the result is reminiscent of Richard Serra's Verb List. It functioned as a kind of manifest for Serra's way of producing sculptures. To spread is on the list. It's about making art by exposing a matter to different types of forces.