Visual arts
“The relationship between what we see and what we know is never clear. Every evening we see the sun setting. We know that the Earth is moving away from it. However, knowledge, explanation, never quite fit with vision.”
-John Berger
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The art of looking back
Scanning, cutting and labeling my negatives accurately acts as a bookend and sets me up for the next roll. The process resets me in a way I didn't expect, maybe it's the clarity that comes from looking around and taking stock of where you're at.
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Sun rises
Communicating very personal emotions: sometimes I feel they're too intimate, but I'm learning to integrate them into my work without fear. I've also learned not to force experimentation in commercial projects: clients come to me because of my style. I bring that exploration to my personal work.
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Red, green, and blue
There are things or scenes that seem very normal in my daily life or context, but from the outside they can seem more interesting. We never know who might be watching out there and be intrigued by what's happening here.
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Never-ending stories
I’m currently working on a series titled “Lovers” and a cycle of drawings called “Never-Ending Stories”. Both are ongoing projects that explore human relationships—between lovers and close friends who share their secrets with one another.
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Singles
I try not to focus on the final result and simply go with the flow. While I do set boundaries regarding the subjects themselves, within those limits, I’m learning to stop overthinking the outcome - instead, I focus on improvising and trusting my hand.
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Die Hard 1000
What I continually learn each time I immerse myself in a project with new materials is to accept uncertainty and not cling so tightly to the outcome I imagined. And patience.
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Asteroid City
I’m learning to trust the flow of creation, to let ideas move through me without resistance and to allow the work to find its own shape. Letting the quiet doubt fall away and allowing my work to simply breathe in the sun.
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In between lands
Constant social media use ends up being very dangerous and counterproductive for artists. On the one hand, we are overstimulated by images, by things that the algorithm knows can seduce us, and on the other hand, there is constant comparison with what everyone else is doing.
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Trip to the moon
Much of my work has strict and efficient formulations, but in this case there was a certain lightness and a more relaxed approach that obeyed an intuitive dialogue with the material characteristics of the objects in terms of shape, color, weight, or density.
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The power of uncertainty
I am learning to take a step back, go for a walk or even sleep over a project. I'm learning to be more patient with things. To give projects space and time. But in the end it's such a balance you have to find in it. Some of my best work has been when I didn't overthink anything and just put myself out there.
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Kati Horna and her friends
Some artists seem to have been seen before they were experienced. In the case of Kati Horna, her granddaughter Kati Polgovsky Horna remembers her through the everyday: her home, her presence, her way of being. The exhibition “Kati Horna and Her Friends” at the Georgina Pounds Gallery offers a shifted interpretation of life in images.
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The smell and the sound of colors
I've learned to gather a lot of references for each project and to fully immerse myself in the process. I truly merge with what I do; sometimes I realize that, subconsciously, I dress in the colors of the image I'm working on.
