I define my practice as “performance”, possibly misusing the term to classify all work that is born out of a vibrating interaction between people, or between people and their surroundings.
Most of what I do seems to fit well in this category, since the relation I try to establish with audiences, as well as people I collaborate with in all stages of my practice, is one of involvement. I have no interest in offering a finished product to passively admire, but rather I aim to create conditions for participants, spectators and myself, to share some form of energy. It is precisely this point of interaction where the work originates, and much of its outcome depends on whether such energy is summoned and consumed.
Throughout this creative process, both the audience and myself access an underlying content, which is less definable than the social, cultural and political themes and the humorous language that constitute the most perceptible layer of my work. It is a shifting, ever-growing accumulation of notions that are at the same time intimate and universal, such as identity, insecurity, violence, instability, and above all others, the ambiguity inherent to forms of communication.