monoperro

1. What made you choose art as a profession?
I don’t think it was a choice I made. Circumstances have dictated that my work happens to be recognised within the field of art. I think that’s happened because this field has evolved in such a fashion that it now encompasses areas that didn’t use to be considered as art.

2. How would you define your work?
I call everything I do in my life Urban Animism, because I think it’s impossible to define my work separately from the rest of my life. From my point of view, my work is a projection of my own development, which takes place on several, or infinite, levels.

3. What subjects are you interested in?
Small things, things around me, the spirit world, hidden realities, coincidences, cities, and the contact between these small things and the cosmos and other worlds. I’m interested in the small and the large.

4. What resources – formal or otherwise – do you use in your work?
I use what each piece calls for. My work is based on learning from the invisibility of different realities, what underlies everyday life. As I connect with a specific reality, such as the spirit world, or revealing talents or magical re-dimensioning or the living dead, I project it in my work almost inadvertently. My work ranges from small drawings to a piece like Metem, where we’re going to prepare ourselves spiritually and materially to find out the date of our own death and document it.

5. What relationship does your work have with reality? What are your raw materials?
My reality, or my realities, or the realities there are, are my raw materials. From both a material and conceptual point of view, because the ideas for projects come from things that occur to me and because many of the materials I use are things I have around me or which appear, such as Magic Objects, which are things I find, or the Egos, which are made out of used pieces of paper, or the dust and fluff in my house that I use to make the thanks for your visit poems.

6. What, according to you, is the point of art?
I think art is a vibration – a supernatural, cosmic, wild vibration, if I have to define it in words. This vibration is both therapeutic and pathological, since it can turn the worldly into the celestial, and vice versa. That’s what I think art is for.

7. How do you hope the public will receive your work? What audience are you aiming at?
I don’t expect anything specific and don’t aim my work at anyone in particular. I see my pieces as independent people who are free to form relationships with other people. Whatever happens from that is beyond my influence and judgement.

8. What qualifications have you got?
What do you value most from your time in education?
I see myself as self-taught. Unconsciously, I’ve always spurned education as experience and now I’ve made something conscious out of this. Against experience I set being totally present and doing things.

9. How would you define your current professional situation?
And in the future?
I’d define how I live and my future as cosmic.

10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work?
Money is another vibration that moves with my work, and just as with all other vibrations, it influences you to the extent you let it influence you or play at letting yourself be influenced by it.

11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
I’ve always had good professional relationships in this sense and simply hope to be able to do good work together.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I think there are many arts scenes in Madrid and in general I think they’re fairly accessible. I don’t know whether that’s positive or negative.