This work is a critique of false generosity in
western culture. The system conditions the
individuals by creating individualistic people
who are not capable of deepening sincere
The broken coins symbolize the false generosity that tries to give alms to the poor so that
they remain poor. The golden frame represents western society, and the asphalt bodies
the people who beg for alms.
This work investigates the identity appropriation between a material product and a human. Two elements that are continuously related in the same system, the capitalist system.
In this work the object is represented as a
textile dress and the individual as an asphalt
torso. The system in which they interact marks the identity appropriation. The product
takes the greatest importance; golden, standing, erect and proud. The asphalt humanin a box, on the ground being the object of a decisive theft.
The product appropriated the dignity that belonged to the subject. And the individual was relegated to the space previously occupied by the product.
This work was born from the reflection on the core incompatibility between democracy and capitalism.
In democracy, the power lies with the people, and in capitalism it is with capital. Opposite powers where one rules over the other cannot be parallel. It's either one or the other.
To represent this, I have used 4 elements. A golden school table holding methacrylate box, a block of asphalt that represents the capitalist system and hundreds of envelopes shaping the will of the people which remains crushed without the possibility of accessing them. Meanwhile, the ballot box supported by a golden table tries to give an image of democracy trying to obviate the forces of power within it.
It is a painting made up of about 200 asphalt faces.
This work is the main piece of a series of sculptural installations made in asphalt that question capitalist society. It synthesizes (or anticipates) various themes that I develop in other works in the series.
Through Occident, in particular, I am trying to highlight the agony that supposedly “post-industrial” society lives in the so-called “first world”. A place where everything seems to be framed in gold but on the inside, it lacks air and screams are heard.
Drowned in consumption and disconnected from each other. The members of this selfish society, step on each other. Crowded but alone and isolated, they inhabit a depressive society.
With this work I intend to accuse the pornographic
industry for conditioning our sexual
identity and I question the normalization of
certain behaviors of a violent nature that I
consider an apology for rape.
What sexual identity can we have in a sexist,
capitalist and highly hierarchical society, in
which we are molded so that we believe that
we enjoy abusing or being abused? Perhaps,
isn’t it the same mechanism that operates in
other facets of our society?
The punching bag represents the porn show,
and the sex organs represent the actresses
and actors, victims of the violence typical of
this system. A circle of white porcelain brains
surrounds the entire scene, and in its fragility
embodies the audience, testimony to the
Each one of the brains carries a gag ball, the
mere observation of what happens in the
representation of porn makes us subsequent
victims; It restricts us and does not allow our
true sexual identity to express itself.