1. If you were to formulate your current work in questions, what could they be?

How do we create, develop, and circulate language to deal with our own understanding of the world and how does this materialize objectively and subjectively?

https://www.instagram.com/p/CqVA--Fo03E/?img_index=1

https://www.instagram.com/p/Cd8f2q6LIUC/?img_index=1

It's not about the relations of nature, but about the nature of relations.

How do we name and organize time, ecological, meteorological, and geological existents? What contours do these names and classifications give to our relationships with ourselves and with all other existents? How does this entire process create a visual culture and what are the weights of patterns in today's visual vocabulary?

How will we deal with collective and individual memories in times of data colonialism? Who will have access? Does memory become a commodity? Will we have an aesthetics of memory?

If we are always situated, whether materially or virtually, how will we listen to images and visual culture in relation to space?

2. What are some points of tension driving your investigation today? (e.g. empirical, social, political, environmental)

"Whoever does not take a position is positioned!" For me, the investigation of a line on paper, of a material, of a community, the act of creating from collected materials - al human production, even if one wants to or not, will never be dissociated from politics. The materials themselves have a political history. For instance, archaeology of media, the anthropology of objects... and so the parade goes on.

In my case, currently my work deals with the relationship of the language created by the West and Western science to mainly deal with geology. In my understanding, everything comes from the ground. Data in the cloud is related to the ground. They are physically stored somewhere on the planet; the chips and batteries came from the ground.

3.ENVIRONMENT - If we were to depict an Open-Studio, what does the general environment in your studio look like? - What are your main mediums (technical and/or conceptual)

My studio is my home. Most of the time, it's my room and my desk. My research is very much about readings in the theoretical field, films, internet research, aesthetic reference research, even from other artists with whom I create dialogues—even if they don't know it. It's me alone creating from their work. Music is a fundamental part of my practice universe. I have increasingly thought about sound, sound art... I don't know if I'm answering this question, but I think my main means is an instalation-based thought as materialization and response to the subjects I research.

4. PROCESS / STUDIO - What are the actions or routines that fuel your practice? What is the relationship with your studio?

My practice is fueled by constant research, by almost daily readings in the field of image theory, and also in the intersection between art, technology, geology, and philosophy. It would be daily reading, notetaking on different platforms, such as the notebook, a mapping and annotation program called Obsidian, and my Miro board - an infinite space, where I'm also presenting these answers.

5. A WORK - Is there any artwork (in your production) currently standing out? If so, what does it propose?

I have a production that has been maturing for a few years, but I think my pieces from the last exhibition stand out. I'll mention here the stratigraphies. A set of photographs and materials that are placed inside acrylic boxes of different sizes. They all lie on the ground, one on top of the other, creating an idea of layers, of images and materials from the earth. People are invited to "stir up" and "excavate" these layers. Feel the different weights. Grab an image of the earth. It proposes just that, stirring up the layers, a sensory and physical stirring up. Another one is the directional speaker that was placed in the exhibition space just above the Stratigraphies. The speaker projected the sound of metals being rubbed against dry ice. The sound is a kind of scream, a moan of the metals. A sound. Discomforting and directional that also pierces the layers.

Finally, I would also mention the "machination of the world." A dialogue of mine with Drummond and Wisnik. It's a metal cube box that hangs by steel cables and underneath on the cable, there are metals and a stone. As if it were connected and suspended between heaven and earth. In this box, there is a thermal printer that prints Drummond's poems when Vale's stock peak. Over time, these poems are being contaminated by Vale's ESG text and begin forming a mountain of contaminated poems on the ground.

6. RECURRENCE - Retrospectively; how would you define the recurrences of your work - conceptual or plastic.

Geology, Transparency, metal, technology, and, above all, the image, even if not directly as a photograph.

7. PERIPHERAL - In the evident context that we are the product of a time, how do you see your work portraying contemporary times?

I believe that human beings have a deep relationship with digging, digging the ground, but also digging colonial relations, for example. The colonial use of the soil itself leads to the increasingly larger and undeniable agencies of meteorological and geological agents. I think my work investigates and carries in itself, in a certain way, a concern that deals with this dichotomy, already worked on by many, between nature and culture. I think my work is groping the idea of the existence of a human and a technology that is not produced by the Western world - indigenous people. I think it's one of the central discussions when one thinks of colonialism, historical colonialism, it's important to realize how much artificial intelligences have become more complex advancing to this layer of data colonialism... These new forms of colonialism advance towards this expropriation of life, of our affections. This idea, synthesized more or less is brought from Beiguelman, but I also fully connect with Povinelli, who says that a first violence or path to a language devoid of affection is to separate the living from the non-living. This division creates, for example, privileges of affection.

8. IMPACT - What impact would you like your work to have?

I'm not sure if I can answer this question, but let's try. I think a first response would be that I want to try to contribute to the discussions that occupy my research. I also believe that one of the impacts would be to create discussions about the research topics and their materialization, including for the audiences that are not accustomed to art. I think what I want is to generate discussion, subject, affection, contacts, dialogue for anyone who approaches, whether from the world of contemporary art or not.

9. An action - that "incorporates" or stimulates your work.

An action? Wow, I have no idea how to answer this question. I think what drives me to produce my work is the need to understand, to get to know possibilities of realities, perhaps, and the different ways of dealing with these realities.

10. Name an artist "embedded" in practice / research

2 Authors:

Robert Macfarlane

Elizabeth Povinelly