About/background: It began in my childhood, when the drawings of some of my classmates were everything to me. I used to ask them to give me their drawings and I kept a few of them until today. I admired the person because of the drawing. And then I copied them. To me making art is to copy the works I like. A bad copy is your signature! The error became the peculiarity. Maybe you absorb the pure energy of it and put it in your own actions. 

Structures/fragility: It´s intentional in the way that I want to depict the first moment of equilibrium, seize the precise moment when an object is no longer bidimensional and becomes tridimensional. My pieces are about equilibrium. In a certain way they have the fragility of a blossom, or a spontaneous gesture. Pieces are static but oscillate in your mind. Since we consciously live above a rotating spinning and suspended ball, fragility is an inner characteristic of equilibrium and of life itself.

Humour: Yes. Humor is energetic, is always indirect and that fact imparts movement. In my opinion humour is a really serious thing and it´s an inner characteristic that all art pieces share. I really think that´s what differentiates art from everything else. There is humour in David Hockney´s splashes, that make you smile. There is humour in Odilon Redon´s eyes and there is humour in Calder’s mobiles. Fortunately or unfortunately there is humour in depictions of tragedy. A square is fun because it´s not a natural shape. It´s an abstraction that only exists in drawing. All abstraction is fun because it´s not natural. It gives you a distance, a safe distance. An artificial space to play. The liquid inside our eyeballs is named humour. Is all about liquid, about balance, and as I mentioned above being aware that we live on a suspended and rotating ball can make you smile as well.

Limbs, necks and heads: People figurize everything. So my pieces are figures. Free-standing pieces that are made up by juxtaposed moments of time\matter in a way that imitates the growth of nature. Limbs connect with each other to create bodies. All my work is about connecting, relating, ‘ligar’ as latin word to connectand ‘re ligare’, as in religious, to adore, to worship. To me art is about worshiping, contemplating or admiring growth or development, the movement of nature, the passage of time, the poetry in time.

Art heros and heroines: There were two books in my faculty library that caused a strong impression on me. One of them was about the work of Franz West and the other was about Jessica Stockholder. I couldn´t believe my eyes! More recently, in 2011, I became acquainted with the work of Phylida Barlow. If I spend some time in England I would like very much to know her personally. I know she taught for many years in Slade, so she must be a very patient person…!

Titles: Languages are music, so titles are songs. The title must translate the poetry of the work, and you only can translate poetry with another poem.  Words are sounds referring to objects that are silent. That silence or muteness must be written in words. From the moment I name my pieces they start having an existence, just like people.

Studio/routine: I work with colour and because of that I prefer natural light, which only occurs during the day, especially in the morning. On several occasions my best work came about in odd moments, outside the routine. On one or two occasions I dreamed of how I could finish a work… therefore I often force myself to follow a routine just to have that chance to break it…!

Progress/what's next: Start to work the strong rather than the fragile. It requires more structure, implementation, space, and territoriality, like a conqueror…!

Future: At the moment I would like to be more nomadic. I was lucky to travel a lot when I was a teenager but since then I settled down. I would like to be part of something I really love.

Artist website

Publishing date of this interview 08/03/16