Increasingly, artists are experimenting with and modifying their bodies using technologies and prostheses to create human hybrids and/or mutations (obviously, this does not imply medical or therapeutic objectives). What’s your position on this? With your art, do you want to show the negative ends of this scenario, or is there a slight fascination?
Body art is a practice I observe from a distance. The cultivation of the body is not something that touches me personally or that I practice. In my sculptural work, I’m more interested in the instruments that bring about these transformations than in the result itself. Medical equipment, dental appliances, scalpels, circular saws, surgical wires… But also the tools used in various trades: plumbing, construction… the technologies used in extreme sports, too, which enable us to multiply our physical capacities tenfold: crampons, harnesses, protective gear… The modified bodily forms that inspire me belong more to fiction and art history than to reality: Hellraiser’s Cenobites, Crash ( Ballard), Mortal Kombat scenes, the body of Christ in Baroque paintings, Bellmer’s dolls…Artists who put their bodies to the test are more into a performative process, cultivating their own aesthetic appearance. My work is more of a mental projection.
Going into the theme of religion, sanctity and death… what relationships do you see between them? Is there a faith or belief to which you adhere? What do you see or believe exists post-mortem? Are there any works of yours in which you have particularly expressed these concepts?
I practice a cult of resurrection, where death mates with everyday objects as if what surrounds us accompanies us into the afterlife. Once I’ve designed those crash-tests, I set them in relation to each other in biblical chiaroscuro scenographies, echoing Baroque painting. The interest lies in clashing the profane and the sacred, by lighting crash-test dummies by candlelight. I often explore the theme of filial love in these compositions, (Announcement, Mater Dolorosa).