I believe Art History to be the cultural system from which my explorations and cross references are to be exerted from and I firmly believe that Art History has been at the foundation of my art practice. The reinterpretation of works of art as cultural signs and the use of quotations, allegory and other rhetorical figures of speech, helps me to identify and to investigate the nature of social constructions that affect representation and the relation between the artists and its subject, the Self and the world. For the past twelve years, my artistic practice had been reflecting upon identity and identity formation through Tableau vivants (misse en scenes), or the construction of virtual subjects and personalities-(misse en abyss and power structures). These different subject matters act in my work as strategies and as recourse for analyzing the relationship between the phenomenological instance of seeing and being present. They became my “theatre of representation” and grant me a platform for the presentation of a space from which I derive meaning that echoes theoretical issues based on ideas written by Husserl, Merleau-Ponty, Heidegger and Derrida; ideas through which I had investigated

a. the way in which a perceived object or a series of events present themselves through sensory qualities and become influenced by the emotional aspects of the dialectical relationship between subject and environment. See Rerum naturae (1991), Corpus Philosoforum (1992).

b. the communal space in which “the shaping of space” emerges as a result of an act of imagination that affects the objectification of self and the subjectification of the environment. See No skeletons in my closet (1998). Rehearsal (1999),

c. the use Virtuality as the threshold in the resurgence of a neo-baroque aesthetic of visualization and its crystallization in emerging interactive environments, virtual tableau vivant and new media projects. See Suicide for Artists, Subject/Ophelia (1997).

d. Sensor oriented installations that investigate behavior in communal spaces and are activated by punishment/reward dialectics (Ivory Towers,1999). Or game oriented installations that target group behavior as Confessions of an Innocent Bystander (2002) that refers to the dirty war in Argentina (1972-1983). In it terrorism, torture and disappearance, affects the viewer/ participant/citizen and the readings of the city. A new media installation that deals with the adoption of a new citizenship and its adaptation processes.(trauma, psychological states and spaces for healing and catharsis).

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I understand “my operation table” as to be an intuitive interactive space that questions and imagines what sorts of allegorical environments (public/private) are available for the development of identity formation within individuals/communities, as well as the perception of the “space” that fictional/virtual characters inhabit as a site for contesting. To this extend, I had been investigating the transgressive nature of Tableau vivant as a theatre of representation that address cultural concerns regarding group dynamics that deals with the formation of identity and sexual identity through an exploration of the grotesque and the macabre in an historical context.