A LIAR STATMENT
«When Diaghilev began again producing Russian ballets, some critics complained that Petrushka’s decorations had lost the startling polychromy they originally possessed: yet they were the same ones, perfectly conserved. Diaghilev saw himself forced into heightening the tones to put them on par with the spectacular memory that remained of these.»
Around the Day in Eighty Worlds (La Vuelta al Día en Ochenta Mundos). Julio Cortázar.
I’m interested in ‘lies’ and their conscious and unconscious mechanisms to transform truth; the daily lie that lives within each of us as a mode of survival or as a reflexive act, a natural and spontaneous lie. I’m interested in the creative lie that enables biographies to become artistic manifestations; the lie that permits the spectacular memory of the sets of Petrushka and the lie that rewrites history books. I’m interested in lies, in all their variety. A ‘lie’ called fiction or fantasy and that is capable of slipping into reality and transforming itself into truth.
Postproduction is a way of ‘lying’. Perhaps that is why it interests me so much, not only as a means to an end but also as an end in itself, as an artistic expression. A postproduction that is capable of creating multiple layers, new meanings and original perspectives of the research material. I’m interested in everything related to postproduction, the processes that can manipulate, sample and forge, and their translation into an artistic and cinematographic language.
But if I’m interested in lies, its because above all I’m interested in truth, in being honest in the process of profound change that my work finds itself in.