In my recent work I look into the power structure that is generated by a distinct disciplined self limitation or prohibition hiding innocently within cultural norms and gestures that  forces us to accept the geometry produced by law, that watches over us. Which is a geometry of non-places, places where ”enclosed boundaries that make up the prefabricated atmospheres, where free movement is controlled, thoughts are dictated, emotions are submitted, behaviors are predetermined.”(excerpt from: The Tower, language of one letter.)

In my masters degree that I completed in Umeå fine arts academy, I introduced a reductive triangulation between three elements framing a dynamic that could compose or reveal an artistic event. The title is The intention for a preference: aimless venture, and a short excerpt: The human is naturally pushed like an accumulating avalanche to secure and protect the importance of one’s unique form, that is the simulated simulacrum of oneself. A form that creates space and demands space, a form with its own force field, and its own orbiting intensities, pulling everything towards itself, nothing remains untouched after its passing, it fills the space with its attention pouring out, as time scratches its back it presses forward, hurling everything in its direction. Suitably for an artist to secure an artistic preference comes by default to pour out within the intensity of the pressure of time and space, to sharpen to a single point, extremely condensed, to become what I call a “super object”: condensed, sensory, resistant, artifact in short CSRA=artwork.

Accompanied to this is my collaborative work Llemma that unintentionally or not deals with time, sculpture and the dynamic of both as containers or contents amongst other elements such as fear of computer virus as sculpture, gaming & poetry and anachronistic performance. With it or within it I published a raw text called Antisynthesis, deepening my understanding on art and continuing my thought processes from my Masters. In this text I kickstart the discussion of time once again, by referring to the Fates which in Greek is Moirés, that directly translates in Greek, sharing. In my attempt to understand the intricate works of Guattari and Deleuze I attempt here a free idea generative perspective to combine elements they taught us and create my own in a self-discovery of art theory. In short I envision fate as a machine that generates variations of expressions to be constantly thrown towards an impossible negative event and by the same machinery of its atropic scissors cutting them down, and by that act using it as a propeller to move the machine itself to its recurring repetition and keep generating variations of potentiality to be smashed into an impossible of negation. And although it sounds horrifying it is an act of beauty, an act of intimacy, an act of sharing an attempt, sharing time itself.