The use of a nude human body in my artwork gives place to two concepts: in the first place it is to speak about the mind, the transparent and plastic essence of the being as well as its frailty and vulnerability. In second place, and paradoxically it corresponds to the image of the body as an object, the body as an action field for relationships to take place, and of the body as a doubly mutilated fragment (due to photography framing and for any kind of injure against the human being).
The mind concept is elaborated in my work by means of plastics that represent for me a border between the material and the unsubstancial. While the warmth of the body or its surface, represent for me the hair, the photographic image as well as the printmaking papers. In this sense, plastics work as a metaphor for the mind and the clarity of thoughts. The fragility of that border allow us to see through our bodies.
If formerly I used evanescent materials in order to manifest what was happening beneath that skin or within those thoughts, now with the hair drawings I am representing the tensions generated between human beings over this surface, edge or border amidst the interior and exterior of the body.
By working with the photographic image I recuperated the body as object in my work. In this manner I am not working above plastic skins meaning thoughts but above photographic skins meaning bodies.
Given that hair represents in our body the border as much as the cover, I am using the hair as frontier and extension of the skin. With the hair drawings I want the hair to become a human extension: from the brain to the brush and from the brush to the paper.