I seek to understand the reverberations of cultural displacement from a psychogeographical and historical perspective. As a dual Venezuelan/American citizen -descendant of Eastern European Holocaust survivor emigrés- my work investigates the textured layers of my family’s past to evoke nuanced narratives of migration in the present. Within this framework, I aim to question the different ways in which cultural difference, and therefore, cultural belonging are constructed.
Committed to a multimedia and research-based practice, I employ strategies of minimalist sculpture, conceptual photography, technical drawing and cartographic representation to explore different modalities of time, memory and space. I create drawings for a ruin that will never exist. Sculptures for a borderless world. Videos to destroy war bunkers. Itineraries to map future travel. Simultaneously, I allow these forms to cross-pollinate by creating new meaning. I insert my body into the fabric of history.
Trained as an architect, I see my role as an artist to help expand, or expose, the ways in which the built environment can contain markers of social memory. In my work, I utilize building materials, traces of infrastructure, or shadows of political revolt to talk about the essence of nationalism, the nature of diaspora and the effects of cultural loss. Borrowing Robert Smithson’s concept of “ruins in reverse”, I am interested in the figure of the artist as a careful observer of the past as a way of speculating about our potential futures.
Committed to a multimedia and research-based practice, I employ strategies of minimalist sculpture, conceptual photography, technical drawing and cartographic representation to explore different modalities of time, memory and space. I create drawings for a ruin that will never exist. Sculptures for a borderless world. Videos to destroy war bunkers. Itineraries to map future travel. Simultaneously, I allow these forms to cross-pollinate by creating new meaning. I insert my body into the fabric of history.
Trained as an architect, I see my role as an artist to help expand, or expose, the ways in which the built environment can contain markers of social memory. In my work, I utilize building materials, traces of infrastructure, or shadows of political revolt to talk about the essence of nationalism, the nature of diaspora and the effects of cultural loss. Borrowing Robert Smithson’s concept of “ruins in reverse”, I am interested in the figure of the artist as a careful observer of the past as a way of speculating about our potential futures.