Through a sculptural practice that is, to say the least, pathetic, my works develop from the study of contemporary popular beliefs arise from web speculations, fake-news and related conspiracies. I address to the different ways in which fears for technological objects can generate a bewilderment in the face of their potential vastness, that can flows from a neo-luddite violence to a state of paranoia and alienation.
In the current contemporary scenario we are transforming our entire existence into a health obligation: the space we live in is becoming more sterilized and renderized, protected by air systems and purifying objects.
My sculptures, in an effort to hyper-theorize the air, are sensitive devices to our well-being paranoias.
In a desperate attempt to survive overheating, they try to cool down by crying over themselves.
Frozen in an infinite loop is the fate of an Internet of Things spear (“Emospear”) that has been assigned the task of monitoring air quality as long as it has the energy. The object comes to life cursing itself, since it has been spoiled by those who programmed it. Immobilised forever in the form, it regrets the past where it was in the sky floating at electromagnetic speed, now it has fallen into the World of Things and begs to be thrown into deep water.
“Caramelle” are caramel antennas installed on the ventilation system and outside the building on public poles. They transmit paranoia and warp over time, one day they will fall.
Urban, domestic, and even psychic technological elements that surround us, that’s what we need!!!11!1!! Sugary, juicy and all too complex. They're hyper-theorized, so when we look at them we are still hyper-terrified. They mutate and melt to our gaze, which deforms everything and understands nothing.