For more than ten years I have worked on the theatrical nature of everyday life and I have questioned the representation of the collective subconscious in order to avoid its nostalgic side. When staging these common and timeless images I try to reconstruct a past that fades away from memory, as well as to link personal genealogical questions to a possible shared collective experience. The picture framing is treated as a stage in which anonymous actors play their roles in front of the curtains of an imaginary theatre.
"The picture framing is treated as a stage in which anonymous actors play their roles in front of the curtains of an imaginary theatre"
Could you tell us about your creative process and its evolution?
My departure point is always a found photograph or even an amateur movie frame. For a long time I worked with my own family albums, but at a certain point I thought this material was losing nerve, and besides it was complicated to exhibit and sell paintings of people who were so close to me. Because of that I tried to regain a clean look and the magical moment associated with the finding of an unknown image. I started looking around flea markets and private archives. Lately, as a means to continue working on the collective, and now again family and personal, imaginary, my glance is widening by including not only image, but also written narrative referents. I pay special attention to popular kid’s literature works that were part of my sentimental education, such as Astrid Lindgren, Tove Jansson and Selma Lagerlöf.