Tahiti on his art:
Art for me has always been the inevitable consequence of a necessary compulsive behavior, a second language with more leeway to interpret and redefine reality. The inexactness of Art serves as a better description for the amorphous and indefinite nature of our experiences.
My work has a lot to do with symmetry, compositional balance and perception: I like the idea of it being somewhat universal and relatable to a wider framework. During the past ten years my work has been centered on repetitive architectural patterns and the interaction of form and volume with light and shadow. These creations tend to incorporate an obsessive, neurotic and ultimately meditative element that aims to draw attention to the unintelligible mechanism concealed behind the intricacy of certain shapes and patterns.
I make highly detailed, large scale, two and three-dimensional hand-cut geometric panels. There is an aspect of my work that revolves around connectivity, which appears to be embedded in the fragile metaphysical transience of the natural systems and structures meticulously rendered in many of my works. The patterns designed for these monochromatic installations have been cut and carved to echo naturally occurring double helix and spiral formations while producing a jeweled effect on base level materials.
Each of these extremely detailed sculptural works constitutes an extension of the space they’ve been conceived for and is permeated by the neutral esthetic qualities of the color white that, with its typical contrasts and correspondences, appears to evoke the architectural complexity of a cathedral’s rose window.
I started making cut-paper work after experimenting with painting, graffiti and stencils. I chose paper because it was inexpensive and easy to manipulate. The old works, focused on carousels, were characterized by two-dimensional shapes that morphed into towers; the most recent works are based on repeating a single shape equidistant from a center point, stacking and layering patterns, and building up organic textures with line variance. The patterns are hand-cut out of 100% cotton rags turned into three-dimensional forms that interact with light and shadow.
I usually work 12 hours a day, six or even seven days a week, to create one of these works, for a total of 100 hours. To obtain the maximum result in terms of quality and precision, I prefer to utilize a thousand different blades rather than one or two, although it requires time and focus.
During the past ten years I have tried to widen my perspective and minimize the narrative and figurative references in favor of a more abstract sensibility. I have also tried to push the scale and detail in the work as well as to experiment with the crafting process and take this opportunity to test my own limits. The new projects I’ve been working on involve transferring the cut-paper work into different scales and materials, including aluminum, acrylic and fabrics.