The general concept that articulates my artistic practice is the configuration of identity in the human being through his personal experiences, the body, the interaction with the landscape, objects, or in the society in which he lives. Coming from a family where many of its components have had to emigrate, a manifest interest is how migratory movements confer on the individual a plurality of elements that promote a compound identity. Allowing it to feel that it belongs to several places and to be set up as a multicultural being.
From a more introspective aspect, another element that I have developed in my artistic work is the relationship of people to their environment. Living on an island like Mallorca, the nature around us has a considerable presence in our personal life and even in our way of being.
All of these subjects I have developed from different disciplines such as drawing and photography, although last year, my research has focused more on the interaction of technology with artistic activity. In a globalised world, where changes take place at a high speed, I note the importance and necessity of cross-disciplinary and hybridisation between different subjects for the development of a more holistic approach to creative proposals. This allows for enrichment and complexity in the concepts proposed, adapting to a period where transmedia culture and other ways of interacting with the public are increasingly present. These concerns are realized in projects such as Nasciturus where perinatal duel and infertility are addressed from artificial intelligence, social networking, the web, community groups and different artistic languages.
Avestruces (Luz Achával, 1991; Óliver Vinent, 1992) begins its journey during 2018. Avestruces’ own tools and inspirations can be classified into the wide range of sound and digital art. His creative vision touches the aesthetic noise, the sound landscape, the meme and the gif, taking advantage of the immediacy provided by the digital media within an increasingly anxious society.
Among his subjects are error, image deconstruction and concepts, ambiguity from the word and the climate crisis as an inescapable fact of the 21st century.
Chaos is the starting point of the concepts of dejerarchization and deconstruction that are placed at the head of the main axis that they travel both the most analytical and audiovisual imagery part of the group.
In a tragicomic and decadent way, the duo raises a scene where no one can dance, but everyone is forced to dance. So you dance.
It is proposed, always from innocence and tenderness, to observe a world in decline, where the prevailing model seems to be going around the world like the one who goes through the Corte Inglés, taking everything what pleases us, like myopic gods who close their eyes to the threat, or perhaps the surely this will not be able to continue for much longer.
Thus, Avestruces presents as an option love resistance, care resistance, and childhood. Let us take as an option the use of existence from curiosity and histrionism, and trying to answer questions that are emerging, like Jesus Christ smells like Brummel.
He grew up surrounded by his grandparents throughout his childhood. Photography, writing, artisanal pieces, and the hybridization of formats are the four legs upon which she sits to reflect on childhood, memory, and story building.
It understands the process of creation as a poetic path through which to dialogue, think and discover, as an artisan does with the material that works with his hands. The images become the raw material of a balance that inhabits all possible stories.
“First we had nature, and then came the environment; the people who used latin had no word for environment, they only knew natura”. This quote by Gustav Metzger sumarises my interest in the human relationship with nature and how it is changing over time.
Nature, what is it? As urbanites, we call natural environment what in reality are human-controlled green spaces. Nowadays, all our experiences of nature are restricted to parks, gardens and other green areas within our cities: the “cultured nature”.
In our aim to control everything, nature is classified, organized, designed, and theorized. It seems that we are reducing the wild to an imaginary landscape.
In my work I am interested on the plans and political ideas behind the changes in our natural environment. I render these thoughts not only in the form of prints, but also installations, drawings and book arts.
*Nature, a cultural artefact is the title of my MA dissertation at Royal College of Art, London.
My greatest pleasure is drawing. Since I was little, I used to paint the stories that my mother told my sister and me at bedtime, and little by little I have grown up with the need to generate those intimate and fantastic worlds that we invented for ourselves. I studied Fine Arts and later specialized in editorial illustration. I have always been surrounded by children, animals and nature, inspiring me to be a better person, more curious, and happy doing what I do. My opinion, every illustrator has the responsibility to take care of the connection of the narrative, guide the reader and allow him to explore in his own fantasy.