{"id":202824,"date":"2026-03-22T07:00:00","date_gmt":"2026-03-22T13:00:00","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=202824"},"modified":"2026-03-20T21:09:25","modified_gmt":"2026-03-21T03:09:25","slug":"otra-ciudad-para-otra-vida","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/otra-ciudad-para-otra-vida\/","title":{"rendered":"Another City for Another Life"},"content":{"rendered":"

What pieces or projects have you been working on lately?<\/strong>
I am currently working on collages. I bought a small notebook and set myself the goal of filling it quickly. I mostly depict animals: I am fascinated by their variety of shapes and colors. It\u2019s an inexhaustible subject for me. <\/p>\n\n\n\n

I also like to represent them in a slightly distorted way, aiming for the strange. I try to mix techniques and textures (papers of different qualities, monotype, Indian ink, washes) to create strong contrasts and visual play. Above all, I seek a raw expressive power, a graphic strength: shapes and colors that catch the eye in just a few seconds.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What did you learn (or unlearn) while working on them?<\/strong>
Before this, I mostly worked in black and white, using Indian ink. I felt like I was going in circles. This work allowed me to create colorful worlds and atmospheres. By varying techniques, I also learned to work with surfaces and textures, whereas before I almost exclusively focused on line. I always try to preserve the vibrancy of the line, because that\u2019s what I love, but through cutting and collage, I approach it differently.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What words, ideas or emotions were going through your head?<\/strong>
Art has its own language. I never work from words. The words of art are shapes, colors, textures, rhythms \u2014 things that, in my view, cannot be transmitted through language. The same goes for ideas. I don\u2019t have a conceptual approach to art. Almost provocatively, I would say I have no ideas. In reality, I try not to have any. I would like to simply make an image randomly, throwing pieces of paper onto a blank sheet.

I also wouldn\u2019t say that I work from emotions, but rather from sensations. I try to create atmospheres so that those who see my work feel something physical. That\u2019s what great artists\u2019 works do to me, so I try to achieve the same effect!<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Were there any conversations, movies, music, or books that made their way into that work?<\/strong>
Of course! A film: The Night of the Hunter<\/a><\/em><\/strong> by Charles Laughton. A piece of music: Music for Children<\/em> from Prok\u00f3fiev<\/a><\/strong>, which inspires me with colors and arrangements of shapes. A book: the excellent work by labor sociologist Juan Sebasti\u00e1n Carbonell, Augmented Taylorism<\/em><\/a><\/strong>. It is a book that critiques AI and shows concretely the effects of its deployment in the workplace.<\/p>\n\n\n\n

It reinforced an idea I already had: going against the smooth, standardized aesthetic that AI can easily replicate, developing a raw aesthetic, playing with accidents, making gestures and handwork visible. I think people are rightly wary of AI, and standing out with this approach \u2014 not striving for a perfectly smooth and finished style \u2014 can meet a simple need in the audience: to interact with a human rather than a machine.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What's been the most difficult thing you've faced recently in your creative process?<\/strong>
Lack of space.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

What is your favorite restaurant and what do you recommend we order?<\/strong>
The Argentine restaurant Onoto<\/a><\/strong>, in Paris. The only place in Paris that makes milanesas!<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

If your life were a movie this month, what would it be called and who would write the soundtrack?<\/strong>
Another City for Another Life<\/em>. RZA<\/a><\/strong> would create the soundtrack.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Which studios, laboratories, or workshops have you collaborated with recently or would you like to collaborate with in the future?<\/strong>
I have projects in children\u2019s literature, but nothing has been realized yet, so I can\u2019t say more for the moment.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Recommend one or more artists you follow who inspire you, and tell us what you like most about their work or their way of working.<\/strong><\/strong>
One of the most important artists for me is Jean Arp<\/a><\/strong>. The fact that he was both a poet and a visual artist inspires me greatly. I love artists who go beyond their specialization. The spontaneity of his visual works, their simplicity, and the way he lets chance play a role inspire me a lot. When I don\u2019t know what to do, I look at Jean Arp, and ideas for shapes very often come to me.<\/p>\n\n\n\n

<\/p>","protected":false},"excerpt":{"rendered":"

I don\u2019t have a conceptual approach to art. Almost provocatively, I would say I have no ideas. In reality, I try not to have any. 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