For several years now, I have been concerned with site‐specific projects and locational identity.
Since my aesthetics concerns have been related to places, sites, locations and communities where I have been invited to work, inevitably many of those art projects finally have become more and more socially oriented.
Each of those installations and specific art proposals were designed to provide an aesthetical and ethical comment on issues such as Human Rights, ecology, cultural dialogue and democratic criticism.
In many cases, I have confronted as an artist collective social struggles (for instance at Cameroon, Serbia, Venezuela, China, Texas, Spain, etc.). Since my art practice and its humble methods are not able to solve any real problem, I have conceived such projects, actions and installations as artistic tools capable to imagine ways of dealing with suffering, stress, oblivion and conflict solving.
Some of my art projects emerge as creative actions (finally, no more than imaginative proposals) in the face of real current situations that demand urgent reflection, resolution, and hopefully, transformation.