CRAFTY DENSITY
 

One week to the degree show. So many things have happened. Failures and heart aches. Pain and hardship. All in all, the three tumultuous years at UCS are about to come to an end. You think that the competition is dry, this is an adventure for everyone. In the last 2 months I have tried my best to be attentive to the work that is about to be unveiled at the degree show. This is a glorious event which can only be celebrated now. I want it to be the best show I have done so far. So I have put all my energy into it. There are works here I want to feel free to show. These are not works that should stay in the basement. I have dedicated a lot of time and isolation, most importantly they are my new works and they are perfumed with splendour, a nightmarish splendour, maybe uneasy to grasp.

Because originally I come from a sad country, there’s not much to be discovered other than a surplus of happiness and a psychedelic folklore. My poor country - a satire made of gypsies and vagabonds. Vampires of the 21^st century. I travel emotionally. I dismantle my senses. I see the decadence, the sex and the corruption of capitalism. Not really grown up as I like to think of myself I came to the conclusion that I am very vulnerable to these perceptions. In the way that I am progressing in art like in Super Mario World. Throwing cabbage at everyone. 'I feel like Van Gogh vs Darth Vader. The Jacques Cousteau of this abyss. Giving it my best. I am the craftsman. I am becoming The Artist.'

                       

In the arrangement process of my degree show ‘The Forest’ I refer to Joyce Pensato’s exhibition at Lisson Gallery I had the pleasure of seeing last month in London, emphasising on a loose space, a series of benign canvases and an overall expressive gentleness. In the same feeling with Joyce I present my space as an open 'studio / working environment' as my tutor David Baldry would pin it. Leaving evidence of me working like maybe some brushes or something half finished. You won’t really know what’s finished work or not. You can touch the object and interact with the work physically, like playing a game of Noughts and Crosses. There are shelves at different levels where I have placed a collection of paintings and sculptures, some are on their side and stacked up to show that they are past work, while other work could be in progress or finished. I think it’s really important to show this feature leaving expectations to a viewer.