The project was born by observing my nephew, born a couple of years ago, I’m watching him play over those carpets where children fit in shapes and create colorful figures.
I was fascinated by how he had experience of the world through images that were not two-dimensional but had a three-dimensionality that allowed him to build figures.From that moment, I started asking questions to myself: what is the space for an image? What effect do images have on our perception? Do images help us to make physical experiences of reality? Is the reality we perceive through the images is reliable? How do the images affect our behaviors? From these questions I started to work and play with all the materials that children use to make gaming experiences, including the carpets my granddaughter played with. I started experimenting with the possibilities of creating the image by exploring the limits of photography. I am interested in the relationship between sculpture and photography for this I started to make compositions of objects such as pencils, adhesive tape and rubbery pieces. With these materials I realized temporary sculptures that only lasted the time of the shot then they were destroyed or crumbled under their own weight. Some of these sculptures have been digitally manipulated, with cloning, erasing and various types of post-productions. Other sculptures have remained intact and have gone to form the wallpaper that takes a portion of my installation. These compositions on wallpaper, floating in a white space, do not have a perspective and turn into a two-dimensional texture. To add to the wallpaper, in the installation there is another photo of a time sculpture made with colored balls. In the end, the installation is completed with an image that has been applied to the surface of the climbing grips. This image is at the limit of a photograph and a sculpture and along with the other pieces it creates an installation that resembles a game room. The starting point of my work is the assembly of different materials related to the world of childhood.I build precarious sculptures that I then photograph. Once photographed sculpture can be cloned, multiplied, shot in the framing space, the photoshop tool allows me to explore the possibilities of the object and to make these sculptures live in an image space. It is important for my work to shift from the manual realization of the object to its digital modeling. In my pictures I try to change the point of view from which objects are observed, modify backgrounds, play with spatiality, and place my sculptures in abstract and perspective environments, what I try to do is to transfer the object from reality , To the frame, to the wall then to return to reality. It is a continuous exchange between object, sculpture and representation.