Flying Structures



To fly is to become integrated into the subtle material that flows, to adapt to the rhythms of the pressures or force of the uprising thermals, agitated and sometimes smooth vortices, chaotic turbulences, in the wide space ploughed through by the curve of gravity, by abysmal vertigo. Other dimensions and perhaps a sensual foot, that escapes softly from the plane of the Earth. With a kind of emotional control.

Maybe these are desires, and also a form of wisdom, a sensitive and passionate form of knowledge, delight, and participative experience. This exercise, those mechanics and processes, their energetic principles, the tensions that affect the behaviour of structures and the integrated elements that form them, allow us to use them as a supporting base in the sphere of aesthetics.

In a first sense, I have attempted to use objects capable of flying as a means of questioning or stimulating the expressive conditions of the surroundings, assumed or interpreted by their poetic or emotional charge, contrasting the geometry of the proportions and relations of classical aesthetics with the notions of space and time today.

Here I take geometry and mathematics in art as tools, materials to catch some aspects of the surrounding reality, also in the sense of interactions, analogies, and correspondence between the structures, including the notions of chaos, void, limits and time.

Art, science and technology are for me tools that serve the same purpose, a sensitive formulation of the different levels of universal identity that we may be able to express.

The skies and space, light and colour, their absence or shadows, the breeze and its murmurings, are all supporting bases where I try to establish these structures capable of flying, and maybe, of interpreting the dynamics and relativity of our position in the cosmos, the interaction of all the components in nature, the feeling of integration in the infinite complexity and at the same time simplicity of our universe.