Happy New Year!
And with it comes the long awaited spread of tarot cards, specially by millennials interested in tracking popular culture in search of values, mysteries, and riddles that will make them feel real and spiritual in the context of their virtual technology culture.
From a very young age I have studied tarot, ritual and magic as tools to enter the subconscious mind and rescue that side of things that we label as weird and absurd. If we add to this my interest in the popular culture that makes up my hybrid identity, we’ll have the essential ingredients to generate an art project that talks about the intersections between global new age culture, urban space and collective neurosis.
Back in 2008, during my art residency at Millay Colony for the Arts in NY, I immersed myself fully in the tarot culture, designing my own cards that I called The Tarot of the Labyrinth. Most recently and after studying tarot for several months with artist/psychologist Victor Brossa and his Syneidesis Method, I rescued an old role of me as a tarot reader, almost like an alter ego, and the relationship it holds with my identity as conceptual and performance artist. Since then I never go anywhere without my tarot cards, which more than predict they inquire, and encourage audience co-creation in a playful way.
2018 marked an important moment of transition as an artist: the 15th anniversary since I arrived in San Francisco at the end of 2003. 15 years of projects where San Francisco, its odd stories, its diverse inhabitants and its complex psyche, has been my inspiration. Along the way installations, performance, guerrilla street intervention and great collaborators. I look forward to more years of creativity where values such as community, urban space and playful approach continue to drive my art practice.
1890 Bryant Studios Exhibition
The Mother of All Questions
in Crete and the creation of a labyrinth