For the past fifteen years my artistic production has evolved around the question of the nature of the photographic image. I have concentrate my investigation in the transference of photographic images to different materialities and supports.
This investigation around photography has been based on a system of technical and material restrictions, where the optical exercise is transformed into the axis that articulates and regulates the coherence of the final project, meaning that it is based on the photographic structure of the original image. It is in this sense that I have established a system of restrictions for the use of color, in which the limited palettes of dyed thistles, color pencils or embroidery threads, allow me to use this procedure as an orthopedic system for the construction of images.
According to this, a chromatic organization based on the distortions of the light generated by the digital photography transferred to the computer screen settles down, distortions that are the chromatic reference of the image. These construction strategies include operations of transference of photographic images towards other materialities, including procedures related to displacements of drawing, painting and engraving. The use of the photography is given not only to create mechanical images from the coherence of its contained optical structure, but indeed in revealing the technical procedure of the process of work. One could say that it is an inverse relation for the use of optical instruments, since in this case the intention is not based on its power of attendance in the creation of images the nearest possible to reality, but indeed in revealing the construction process of my work.