1. What is/are the primary reason(s) for you to make work in the first place?
A cathartic revenge against the cartesian order upon which reality has been constructed.

2. What do you intend your work to convey to an audience?

3. Why do you work in your chosen medium and format?
It would be worse working on an imposed medium and format!

4. Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
I use aggressive and primitive processes in which wearing and destruction is a prerequisite for the final outcome of each piece. They usually include hitting, hammering, shredding, sanding or screwing. The process is usually one of reduction. For example, in my videos there is no editing except for the titles. They all are single shots of variable duration.

5. Which period(s)/artists/specific works of art are you influenced by and how directly?
I do not think that any artist has had a particular influence upon my work, although I felt affinity with the poetry of Francis Ponge, the photography of John Coplans, the sculpture of Calder, and some writings by Salvador Dali.
How does this manifest in your work?
The interest by minute, insignificant or cheap but beautifully useful objects is something I share with Ponge. The exploration of their history, their transitional state…

I feel close to Coplans because in his work there is a perception I share of a form of beauty particular to processes of decay.

The playfulness and the interest in balance in Calder’s works is another subject I identify with.

The writings of Dali (in particular “El ángelus de Millet” and “SI”) were most encouraging and fun to read when I was in my late teens. His paranoic-critic phenomena marked my interest in problems of perception and the games of encrypted imagery.

6. What stimulates/informs your work from the world around you?
Taking long walks without a pre-fixed direction. Reading newspapers, and novels. Feeling bored. Dreaming. Talking to strangers. Talking to my closest circle of friends.

7. What stimulates/informs your work from your own personal experience?
The constant experience of failing.

8. From where do you derive your other visual source material (i.e. non art historical) and how do you implement this material within your work?
I seek nourishment from my immediate reality. This means from the streets that configure my “barrio”, my quarter. I live in “El Raval”, a unique quartier rich in contrasts, a sort of chaotic melting pot in which one has to live in to understand its dynamics. The identity of this quarter is being diluted, creating two new forms of identity: one is the byproduct of socially disorganised organic growth and the other is a fastly growing organised force manipulated by the political establishment. The coexistence of these two forces causes a friction which produces a wide variety of resonant material.

9. What are the main problems that you face in making your work?
Fighting against my critical spirit.

10. Where do you intend to take your work from here?
I never know which will be my next step. The tension of this uncertainty is essential to my work.