I create mechanisms, instruments and equipment to use as extensions of the body.
I think of these inventions as relating to the body in a similar way to how the body relates to the inner processes of thinking and feeling. The idea is that just as the body responds to thoughts and emotions, the equipment responds to the body. Thus, the internal processes are expressed through the body which expresses itself through the machine. This is what a friend of mine called “personification of the machine.” With that, I can keep a certain distance as I see my inner movements (thoughts and emotions) manifest through the machine. In this sense I have the machine as an mediator in my relationship with myself and, in several works, with the other. But what is this that I am calling ‘machine’, or ‘body equipment’? I consider as such: any object that works to link the body with external dynamic processes, for example: the system of candles and tubes that make it possible to light and extinguish fire, which are attached to my body in the performance Transference, or cups that allow to transfer water from a body part to another, from one person to another, and that are attached to the body in the group experience called Help Yourself.
But at the same time that this process of “personification of the machine” happens, the reverse movement also occurs, the internalization of the mechanical properties such as order, structure, limits and objectivity, happen on both mental and emotional levels. The internalization of these qualities provides a means to get oriented and move in the inner subjective world. A direct reflection of the internalization of the machinery movement is the development of rule systems that are applied in some of my projects, such as Door of Hand, a work in which I use a system of rules governing movement with my hands. Another example would be the game Octopus, in which there is a system of rules governing the interaction between the players.
Even though I have develop partnerships that produce artistic photos or videos, I consider what I do as a work of living art (not as in the gender Live Art), but in the sense that I create performances, equipment, workshops and group experiences, which only acquire a real sense when they are brought to life be it by myself as a performer, or be it by the public in the case of interactive work. One of the key components in this process of bringing the work to life is the idea of the game, which I define as: dynamic interaction between parties for the sake of interaction.
In my artistic practice I try to develop an eye to the possibilities of communication between body parts, between body and machine, as well as to the possibilities of communication between people. The same observation extends to the body, to the people, to the materials and to the mechanisms. An eye toward the relationships between the parties, seeking a balance between connection and mobility. The parts of the body, thoughts and emotions, parts of the machine, the body and the machine, the different people as part of the group, the different possibilities of movement. This interest leads to the development of equipment, body research, interactive works, group practices and artistic partnerships.