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From the Buddhist point of view, the concept of Anitya expresses that all things in the material world, as well as all of our mental states, are impermanent. All of our possessions, thoughts and experiences are subject to change. Hence, when we grasp things as if they are permanent, we suffer. However, through contemplating on the impermanent nature of things, our attachment decreases, and so does our suffering.

My wandering practice has been closely tied to a sense of place and tension between belonging and dislocation, while also exploring themes of environmental catastrophe, science fiction and ephemerality. During the last 7 years I have been working on drawing installations over galleries, museums and project spaces across different cities and countries.

The common factor in these pieces is the large scale and the temporality of the drawing. The nature of charcoal allows me to work out of collected wood, turning it into marking tools, hence addressing landscape identity, sustainability and material transformation. A way to temporarily inhabit each place through a performative drawing action that stands as open and in expansion.

While these installations are made in places that are not allowing the permanence of it, I reflect on the awareness of creating something that will surely disappear, be erased or destroyed forever. 

Here is where the “Detachment action” begins, a performative action that happens every time on the last day of the drawing where I attempt to extract mono-prints out of the wall. By dragging and rubbing pieces of paper over the unfixed charcoal I get a new image, a smudge that contains not only recollection of the charcoal material but also the recording of the gesture of the body movement, a desperate attempt to rescue something. 

This constant action has been performed since 2015, and currently it builds a collection of more that 250 pieces, divided in groups of different formats. Each one holding the story of a place, a temporary dwelling and a constant emotional detachment.