But now the work is different, and just like everyone else our brains have to shift and adjust to accommodate the speed and plurality of now. Artists who work with materials and Earth have maybe an even more important job than before: to keep us tethered in some way to our physicality, and to remember the strength and agency of our bodies when they’re not hooked to wires and screens. Over the years your works have been regularly presented in several occasions, including participations to the Time Based Arts Festival in Portland and to the Elektra Festival in Montreal. One of the hallmarks of your work is the capability to create direct involvement with the viewers, who are provided with of the the opportunity to become active participants and are urged to evolve from a condition of mere spectatorship. So before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context? Yes absolutely. But that said, I’m not attached to any fixed idea of what that language would be. It will always change depending on the context for the piece and what I’m feeling. For me, when I experience art I want to be moved. I want to feel. If I get angry because the piece provoked me, ok! If I feel sad, ok! But I feel bored and unmoved, for me that’s a waste of time. I think that participation can be energetic as well as action-based. As a performer there are times when I simply want to tell a story, or create an experience. But always I want
interview
here to celebrate feelings and ideas that can’t be communicated linearly.