I’m a communication designer and my interests and professional activities bounce around the politics of contemporary visual cultures and their social impact. I was Head of Art at PlayGround, a wide audience digital media outlet, and one of the last freelance projects I’ve worked on consisted in directing a campaign for the International Day to Eliminate Violence Against Women for the Barcelona city council. I’m a researcher at The Royal College of Art, London.


︎︎︎ LAUS JURY 2019
︎︎︎ D&AD IMPACT GRAPHITE PENCIL 2018




HOT LINKS

︎ DIS/CONNECT

Communication in the Age of Isolation


︎ METAL (INTERVIEW)

El Arte de Hackear


︎ HANDLE WITH CARE

Actas BAU Design Forum 2017


︎ ON THE DESK

ADG Laus


︎ WE INVENT (INTERVIEW)

We empower ourselves to force a change in the brands and the way they behave





A DELEUZIAN GAZE






PROJECT:

Fading Planes


TEXT

OCT.19- ONGOING

ROYAL COLLEGE OF ART

IMAGES:

MAXAR TECHNOLOGIES

FRANCIS BACON, SELF PORTRAIT–AN EXAMPLE OF A MIS-ALIGNED FACE,1969

When I first cropped one of the screenshots of a plane fading from Charles de Gaulle airport in Paris, I formally connected it with Francis Bacon’s self-portrait. After juxtaposing both images, not only the shapes and the color palette were related: I suspected that there was a possible aesthetic connexion.

Bacon's gaze rests on his face like a brutal hand, trying to keep his essence. The brutal gesture, that movement of the hand, wrinkles the human face, hoping to find in it or behind it or through it something that has been hidden, like the algorithms do with heavy metals and the invisible passengers inside the planes. There is a contrast with the emotional and precise hand of the painter and the futile and systematic cloning style of the algorithm.

Deleuze (2002, p. 58-59) argued that Bacon had created a form of painting in which figures were emptied of all meaning, in which sensation was everything: “the extraordinary agitation of these heads is derived (…) from the forces of pressure, dilation, contraction, flattening, and elongation that are exerted on the immobile head. They are like the forces of the cosmos confronting an intergalactic traveler immobile in his capsule.”

The idea of deformation being subordinated to a body, of movement being subordinated to force and abstract being subordinated to figure described by Deleuze evidenced an aesthetic force in my fading planes.

In both cases, it is as if the bodies, reaching the limit of the barrier, eliminate a part of themselves and push themselves in a frantic attempt to escape from their container space. All that remains at the point of disjunction are circular voids.


︎︎︎ Deleuze, G., 2003 Francis Bacon: The logics of sensation, trans. D W Smith, Continuum, London, UK, original work published 1981.