In your work, what is going on between two images when they are joined or juxtaposed?
A search for gaps connecting one to another, a point of connection, a point of friction.My work is a constant search for these sparks between images, so I work a lot with diptychs and triptychs and series. I also like to perceive what is hidden in an overlay of images, because this can be decisive for the creation of a new context, a new narrative, within this kind of writing with images. My processes are eternal exercises of relation, of showing and hiding and showing, doing and redoing in a new way.

Who owns the images you use?
I try not to think about it during my work processes, during my collection processes (which is daily), while I am at my desk playing with the images. I am more interested in questioning how I can return these images to the world, how I can react through these images.

Do you recycle, appropriate, or steal?
I like to think of recycling as a subcategory within appropriation. Appropriation as philosophy and recycling as tool, method. More than 100 million images circulate every hour, so recycling also ends up gaining a certain sense of utopia within this context of trying to make sense of all this circulation, all this amount. Maybe I'm inside this category, with recycling as a way to react to all this saturation. All my production is in a way a game of action and reaction, and this unfolds in different processes. And making collage has a lot of this, this act of taking something and transforming it into something else, this math with images, shapes. I was a terrible math student, but I can recognize this within my practice. And the image of the garbage collector, of that someone under a mountain of images, is something that interests me. And making collage, working with images, has a bit of that from the garbage, from the dirt, from dealing with leftovers and waste.

Do you feel connected to the collage tradition itself?
When I made collages with fashion images, yes. When my research goes into other fields, with other types of images and other types of organization, with unfoldings in books and series, I think I get closer to a post photography, because I don't work so much with juxtaposition and cuts, but with an appropriation and then a reorganization, a writing with images from my collections. I think that when these limits are tensioned, these connections with the tradition of collage are distant, no matter how wide-ranging.

Barbara Kruger says that her work is “more about pleasure, desire only exists where there is absence. and I am not interested in the desire of the image. I am basically interested in what suggests that we have no need to destroy differences”. what is your own situation?
Pleasure exists in the cut or in the overlap, when the senses between the two or more parts become latent

Ed Lassry says that there is something ironic in appropriating contemporary images. What is your take on this?
It is ironic because it is a battle that was born lost.

Do you try to treat all images in an egalitarian or democratic way?
I try to treat them all equally, even though I know that working with images is flirting daily with a certain kind of totalitarianism.

Do you think that collage, which is made of residue, the remains of images, is a soiled medium?
Yes, and sometimes the dirt can become the main character of a work, the final touch, something that indicates that it was once a thing and now moves on to be something else. As I work a lot with an operation that starts in analog, goes to digital and ends in the physical, I like to think and see the dirt and the residues, as an indication of life, of this lost physicality.

Is collage “thinking with your hands?
I think collage is reacting with images.

Are your associations of images synecdochic?
Every image has a corner, a crossroads, a terrain that can be worked with another image, or that opens a gap to the junction with another image.

What remains of the original context of the images you use? of the group or collection they belong to?
When I worked with fashion images, removing the background from the images was the first step in recreating this context. When I moved from this phase to the phase of abstract collages, I decided to work on these remains of background, these leftovers as a theme, trying to create shapes, in an overlap and organization sometimes vertiginous or calculated among all the pieces. From the original context there is only one point of junction left, a gap that allows the connection with another image, either by approximation, superposition or simply by a cut. This point can be a fraction or the whole image.

In your practice, are you forming a memory/collection of an/or reflection on the circulation/flow of images?
I like to think more about gathering than collection, because it is from the gathering that the material for the works emerge and indicate the paths; and more as a reaction than as a reflection.

Using an images amounts to first choosing it and pointing at it in order to index it. doesn’t this shift us closer to that index pointing skyward and showing a transcendence.
I try to look at the images without any transcendence, I try to observe my folders and image boxes with the coldness of a surgeon.

“Whatever the meaning, it isn’t the things, it’s the place things occupy that counts”, Roland Barthes said. Whereas Georges Braque pointed out that “it isn’t things that are important but their connections. In associating images, superimposing and separating them, it is their position that is significant. how do you work that aspect?
They are two paths that at some point intertwine, as if Barthes' thought were closer to the final work and Braque's thought was more within the process of searching for these connections, these gaps, at that moment when you are alone with all the images on the table, without knowing which stories will emerge from these isolated points.

Would your association of images be “metaphors of fraternity?
I'm too close to my work to say that.

Are your associations of images assonant or dissonant, similar or contradictory?
A little bit of these four, and the joy is in this combination.

Are they a representation of diversity of contagion?
I make no distinction between images and I like when images of different qualities are mixed, creating this shock of patterns. As I was born in the late 80's, I was one of the last generations to have contact with the analog world and then with the digital world, this translates into my work with this junction between the physical and the digital, the analog digitized, the digitalized as something physical and also with certain precariousness, certain noises.

Keith Tyson says that “the word I face is a complex mutant accelerated dynamic; and if I am honest in any way my art has to reflect that, and try to resist a modernist heritage that is still prevalent, that is in search of a significant, reproductible form or style. What does this mean for your work?
Maybe it's the fear of reaching a level that it will be possible to generate works on demand, based on algorithms and pre-established images, that would generate works of art on demand, for anyone who has downloaded the artist's application and has paid for this personalized service. The trivialization of pastiche as a form of survival and commercialization.

For Martha Rosler, collage talks more about space than time.
Collages are reaction exercises with images in different spaces. A double page of a book or notebook is good for a kind of collage, for a kind of organization and association; a whole wall is another context, involving other dimensions and possibilities. I also like to think about the other point of this statement, to think that working with images is putting them against time, to push an image in the process of being forgotten back to the surface.

What is the importance of the images with respect to their informational content?
I try to ignore the information content. I like to see the images becoming empty of informative content, because only then can they receive new meanings and exist within other contexts. The more charged with information, the more limited within a field or context they become, and that's not a bad thing, because sometimes it creates openness and starting points for new work. But I prefer to question all this information, to remove all these layers from other realities.

John Stezaker says that “in their daily practice, images disappear in their use”. In obsolescence (the death of merchandise), they appear. the collection lens visibility to an image; its a kind of life after the death of the merchandise-image.
As someone who works with images, I'm being tempted daily in different ways to experience the most varied types of images, these stimulations appear in different ways, whether on the streets, in the magazines, on websites, on social networks, when I unload my camera, when I watch a movie, when I discard my trash. Everything can become material for juxtapositions and associations.

Do you use analog or digital images? Is it important to distinguish the two in your work?
I make no distinction, because within my operations images always follow the same path, they always become digital images at some point. I operate in a system of work that begins in my notebooks, with images from magazines, books, and other media, then they are digitized, reworked, and then, in the final part of the work, where I think the installation or the exhibition of it, they return to the physical world, carrying all the scars and marks of these processes.

How do you position your work with respect to so-called post-internet practices. With respect to the volatility of digital images and contents once they are reified?
Images became banal from the moment feeds became infinite, mediated by algorithms. And with this daily flow of images, this infinite scrolling, has ended up placing us in a kind of state of inertia towards the images, where the only act left to us is to produce new images, thus feeding this chain and this virtual ecosystem. I like to think more about a post-photography than a post-internet, is to create from this mass, this inexhaustible source of matter. I also like to operate within this contradictory limit, between production and the utopia of recycling.