1.
3.
The methods I use to produce work are
developed specifically for each series or project. The way pieces are created is not
always through the same technical process or
My artistic grandfathers have va-
ried throughout my life. I started to
understand art with Andy Warhol, and am very interested with Ger-
materiality; each project has its own way of hard Richter lately. The retrospective they did at being resolved (not everything can be said in the the Tate was magnificent, and seeing the diffesame way). One of the basic concepts throug- rent series and project at once helps us deeply
hout my production is reproducibility, how understand the worries and interests of the ar-
images are appropriated and re-elaborated in tist. Of that German trend I also like Sigmar
different contexts: I’m interested in how we see Polke and Thomas Ruff, who is way younger. contemporarily.
2.
Of the Latin Americans I dig Vik Muniz (I don’t know if it is because I feel there’s a closer
I’m interested in photographic image, language and way of working that I easily realways have been fascinated by it. The cognize) from some years back. He was a direct
appropriation of existing images is a reference, although he is no longer, since the dicommon practice in contemporary art, either fferent projects and interests make one to look from mainstream or the periphery. I particularly different ways. feel that to re-contextualize existing images is an ecological act, since with this absurd bom-
bardment of images we have in cities, the act of recycling and reinserting them in different contexts may be seen as an antiradical act of creati-
vity, since it does not generate a completely new image. It is a reaction to the oversaturation of images we are subjected to.
4. 5.
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Oscar Muñoz is probably the artist who, in a crucial moment for my own development as artist, had a positive influence.
Photography has always been a useful resource in arts, more so now that digitalization of images