1:1

This investigation comes from the direct experience of encountering objects, materials and ephemeral traces left in the urban environment, in particular in the streets of Hamilton and Toronto, the cities in which I have been living for the past seven years. I started photographing these found situations in 2014 and I have continued doing so to the present. In 2018 I wrote a grant to the Ontario Arts Council to explore the creation of sculptures based on these found arrangements, and to investigate what it meant to do so.

I started working in March 2019 by gradually collecting materials and bringuing them into my appartment and in October I moved into a dedicated studio space. This space was offered to me during a residency at McMaster University’s Studio Art Program. I started working in the studio in October 2019 and continued doing so until the middle of March 2020 when it was suddenly interrupted by the closure of the University due to COVID-19.

This documentation presents the trajectories explored and the different levels of interaction created with the various objects and materials collected. In the process I explored different possibilities to combine intentional actions with unintentional ones, following task-oriented procedures but remaining attentive to unexpected findings.

Althought not easy to separate into distinctive components, 3 general directions took place:

- The wire studies
- The dimensional studies
- The fence studies

The wire and dimensional studies respond to the conditions of the studio space and they relate to its length, width or height; whereas the fence studies investigate the possibilities of a self-standing structure and the various actions that can happen to it, including its deconstruction.

Also, as the process unfolded, I started to produce a series of drawings in response to the events happening in the studio. I later realized that at times these drawings were happening prior to some occurences, and I began to consider their temporal interdependence more closely. It was later that I began to refer to these drawings as scores. They played a key role in the unfolding of this project as much as the various situations encountered on the streets.
 
As this project is coming to a close I see the scores as the possibility to actualize all, or some, of the pieces in spaces other than the studio. I plan to continue exploring this trajectory when the oportunity to make a public exhibition becomes available.








This project was generously supported by the Ontario Arts Council Mid-Career Project Grant. I am very grateful for the time and resources it gave me.



I also want to thank the support and inspiration received during my residency at McMaster University's Studio Art Program. I am grateful for the many conversations with professors, technitians and students in the program. Special thaks to Carmela Langanse, Briana Palmer, Sally Mckay, Troy Coulterman, Angela Busse, David Perrett, and Ian McMurrich. Also many thanks to others outside the program, and to those in the Cybernetic Orchestra.