In the cutting technique that I practice, I do not have a specific and clear figurative objective.
For the clippings of the different Life Style, Architecture and Design magazines I pay attention to the quality of the photos and the quality of the printed paper and motifs that have a life of their own regardless of their context. A staircase may interest me not because of its function to climb, but because of its geometry, for example. To select the cuttings I let myself be guided by an aesthetic intuition regarding colours and shapes. At that moment I do not have the final image defined yet, but I put the clippings in a file that will serve me as a quarry for the next phases of work. It is an archive where my fantasies and aesthetic concerns lie.
For the clippings of the different Life Style, Architecture and Design magazines I pay attention to the quality of the photos and the quality of the printed paper and motifs that have a life of their own regardless of their context. A staircase may interest me not because of its function to climb, but because of its geometry, for example. To select the cuttings I let myself be guided by an aesthetic intuition regarding colours and shapes. At that moment I do not have the final image defined yet, but I put the clippings in a file that will serve me as a quarry for the next phases of work. It is an archive where my fantasies and aesthetic concerns lie.
As in every artist, it is a process partly unconscious, where my feeling of masses, shapes and colours represent the bases and skeleton of my work. The result, as I said before, is unpredictable, but I seek to create an architecture or visual system, illogical not functional where the composition of forms, masses generate a new sphere where the possible is mixed with the impossible, where the view can rest, discovering the usual in a different aesthetic universe
