"We had the experience but missed the meaning,
an approach to the meaning restores the experience.
In a different way"
T. S. Eliot, The Dry Salvages, 1941

           The elaboration of most of my works dates back to my years of academic training, first in the field of philosophy, then art history and museum studies. This transition to the arts, far from representing a break from formal research, was driven by a desire to test what I had learned until then. Working now as a visual artist means trying to apply those theoretical tools and skills to something that usually stands beyond the reach of academia: experience itself.   

                My works take the form of long-term research projects, applying rigorous methodologies to the objects of everyday life. They stem from apparently ordinary situations to examine how social discourses – such as History, Law, Medicine, State Bureaucracy, or even Astrology – affect our individual identities; and they propose, accordingly, minimal interventions in the way they operate. Based on narrative, each project can translate into photographs, objects, installations or writings, and be presented in the context of an exhibition, a publication or a lecture.

                Being faithful to experience, however, does not mean blindly adhering to sentiment or sensitivity. On the contrary, I am looking for that precise point where experience goes beyond the personal anecdote and, all of a sudden, takes on a collective dimension. That is, a social, political and economic significance. A paradoxical stance from which it is possible to enunciate something new about oneself, using the third person. And then, to go back to the first person. But in a different way.
                It is not about a new delusion of objectivity, but a search for a non-romanticized stand in the domains of expression and reflection. For it is precisely in these social registers, which are common to all, that affects meet politics and stories meet History. And, if I so often seem to appear as the "subject" of my pieces, it is in the role of an anonymous subject caught up in an everyday life situation to which anyone else can easily relate. Reading my experience through different sets of ideas, concepts and hypotheses, is a way to make artworks function as real "case studies".