Decostruzione XIII • Totem

2010 — ROAD SIGN DE-CONSTRUCTION SCULPTURE — 29X52 CM
Decostruzione XI

2010 — ROAD SIGN DE-CONSTRUCTION SCULPTURE — 50X65 CM
Decostruzione XII

2010 — ROAD SIGN DE-CONSTRUCTION SCULPTURE — 65X92 CM
Contexture • Selezione

2009 — URBAN PATTERNS AND DETAILS - LAMBDA PHOTO PRINT ON BOARD — 70X100 CM
Decostruzione V

2009 — ADVERTISING POSTER DE-CONSTRUCTION SCULPTURE — 130X90 CM
Decostruzione IX

2010 — PROHIBITION SIGN DE-CONSTRUCTION SCULPTURE — 52X30 CM

• PRIVATE COLLECTION
Decostruzione VII • Ordigno artistico inesploso

2009 — MILITARY SIGN DE-CONSTRUCTION SCULPTURE — 50X70 CM

• PRIVATE COLLECTION
Kaskara

2009 — IRON AND JAPANESE PAPER SCULPTURE
Decostruzione I

2009 — PROHIBITION SIGN DE-CONSTRUCTION SCULPTURE — 50X70 CM
Decostruzione III

2009 — ROAD SIGN DE-CONSTRUCTION SCULPTURE — 50X70 CM
Decostruzione IV

2009 — PROHIBITION SIGN DE-CONSTRUCTION SCULPTURE — 50X70 CM

• PRIVATE COLLECTION
Carosside

2009 — IRON AND PAPIER MÂCHÉ SCULPTURE
Decostruzione X

2010 — PROHIBITION SIGN DE-CONSTRUCTION SCULPTURE — 44x32 CM
Decostruzione VI • portatile

2009 — PORTABLE TRAVEL SCULPTURE
Piroclasto

2009 — CERAMIC RAKU SCULPTURE
Decostruzione II

2009 — PROHIBITION SIGN DE-CONSTRUCTION SCULPTURE — 23x28cm
Compressione

2009 — READY MADE COMPRESSED SPRAY SCULPTURE

Bio + Statement

I always had a natural inclination to art, which I cultivated while working at the same time as a graphic designer and I was lucky enough to grow up having around my friend and artist Fernando Texidor and photographer Montse Santamaría, who understood and encouraged this passion.
Over the years I developed a personal sense of aesthetics, which dips its roots into the concept of travel and finds expression through the decontextualization of unique objects randomly found on the road.

The Decostruzioni are born out of this artistic research: the words leave behind their original purpose and meaning to become pure shapes. The surface of road signs and warning signals is cut into smaller pieces and then re-assembled into abstract artworks, in accordance with the following pattern: objet trouvé > de-construction > assemblage, where iconoclastic act and street art draw from each other.

At the same time I experimented with photography and worked on the theme time-man-material, which I called Contexture. Time prevaricates man's action on material and transforms it. The aging of different types of material allows for new details to surface and acquire aesthetic value. The decontextualization casts the texture in a new dimension, which investigates the origins of abstract art and inspiration.