How do you balance all of your creative activities, as a curator, artist and tutor?

I am an artist and I love my work, it is a way of seeing the world that I cannot get rid of. This leads me to be a great consumer of art and an active character in the facets you mention. Due to this healthy vital need I curated for years, written numerous articles of cultural criticism to show the artist’s work and establish relational links with distant and innovative scenes. I directed project spaces, participated in art institutions in Berlin and internationally, and I currently give master classes on contemporary art and new media in Madrid. I believe that the dissemination and teaching of art are essential. All of this is an extension of my artistic work, which is the one that occupies my mind and my time every day of the year in my studio. I am a hedonist of art, and it is not a rhetorical figure, it gives me a lot of pleasure. This is my way of contributing the way I can, to the improvement and amplification of the international contemporary scene, it is important to me. My work is part of the modern thought, the Zeitgeist and, like any other artists, of the speech that will come tomorrow and that is a responsibility that I gladly assume. The works you mention are an extension of my practice and tools for doing intellectual activism.

Where does your bleak aesthetics coming from?

It is a good question, my work is like that because it is built from a very intimate and stable position of seeing the world. The social system in which we subscribe is unequal, hereto-patriarchal, misogynistic, classist… the list is long, and it encourages the consumption of goods with promises of reward. It is a creature that destroys our ecosystem and is opposed to a fair coexistence. Capitalism is pure collapse. It fascinates me as an announced accident in the same way that I observe analytically the positive elements that operate whit in this system. There is something we have lost and miss and we want to replace it in a prosthetic way. This is a constant reflection and permeates my work. I am passionate about sociology, and from that prism, I speak of what the essence of this historical moment represents: A society that lives a liquid modernity in Lipovesky’s terms with a great protagonism of desire, where everything light is good, and there is a new way of understanding and idolising the body, sports, the workplace and the intimate, a new sense of leisure. In this contexts the design of objects is crucial, they are are the artifacts with which we understand the world. In short we have a new way of relating to reality that communicates how we are, and here comes the core of the question, a moment where we privilege the idea of technological progress as the greatest identifying paradigm of our society.
I feel the need to subtract some elements of this scenario in my exhibitions, the soft and ergonomic cave we live in, that strange event in which we find ourselves, not to give answers but to provoke a stimulus and thereby establish a question.
My works are the result of distilling and simplifying that modus vivendi to the minimum, showing a concentrated Doppelgänger or an idealised form of it. This is how it works and why it looks as you said. I am inspired by clinics, shopping centres, the advances in science, transhumanism, bioethics, sports and meditation centres. My studio actually looks like a laboratory. I deform and exaggerate those places that identify us so much (and where I certainly feel pure Stendhal pleasure when I am in them) and that is why I create works and build spaces that pass between the unpleasant and the superlatively naive. Then I counterpose them to the way nature adapts for reasons that may not now need to be revealed and that are part of the discourse.
That is why I seek a precise balance and that my work is perceived at the same time disturbing, uncomfortable and clinical as well as friendly, intimate, rubbery, pleasant, attractive or erotic. This harmony between both poles is the key that sustains both the formal body and the thesis of my work.

In your works, is there a sexual reference and if so, what is your idea of sexuality in art and what are your inspirations and references?

Yes there is, (laughs). I’m glad you asked because the erotic aspect of objects is a tool that I constantly play with. I’ll explain better: the consumption of goods and technological progress are capital elements of our behaviour as animals, they define us. As I proposed in a conference that dealt with the question of the erotic function and the curved form, I began to observe that ergonomics, a unique discipline of adaptation, played a vital role in describing how we perceive The Reality; here understood as that collective fantasy that we call Reality, you know. The goal of ergonomics, by its definition is to reduce human error increase productivity, and enhance safety and comfort. That idea is basic in my practice. We design anatomically adapted objects that submit (the word I like to use here is submission in the sense of capitulation) to our anatomical shape and this provokes in us a series of reactions and relationships of various kinds: always positive, of satisfied desire, affection and eroticisation of life. is what I call the sexualization of comfort.