My artistic practice is characterized by concurrent and non-exclusive approaches to the object. A spirit of permanent experimentation makes use of bricolage to confound the constructed and the ready-made, thereby adopting a multi-disciplinary overture to the ordinary. The mastery of a particular medium is often relinquished for a trade of discipline, establishing a relay, much like an investigation which at the far edge of its ability, picks up a foreign thread. Thus, be it drawing, sculpture, video or writing, the artwork is a venture in a zone that retains the mystery of an ultimately unmappable territory. In other words, the cross-pollinations that generate multi-media hybrids only owe their richness and variety to the consistency of an uncharted plane. The leap of faith between the modes of access available to it seeks to nudge the very enterprise of art making out on a limb. For this ritualistic undertaking allows the object to perform beyond the tenets of the intentionality that binds it, to better activate the singular dimension of the ordinary and avoiding the normative traps of habituation, to resonate in the gaps and joints of a non-foreclosed commonplace. While disciplines are often blind to their own foundational biases and prone to justify themselves with increasing specialization and rarefied know-how, thereby distancing the object, these works by contrast propose a conjugation of the different approaches to it, hopscotching between the physical and the imaginary, the conceptual and the processual, to define visual art as a courtship of the invisible, or a means to render visible, which in sharp contrast to the rampant imperatives of visibility, ramifies the paths to a vernacular that can never cease to amaze.