My method in performance art has always been to explore, speculate, and analyze my position in the world as a human being in relation to others.

This has included understanding and analysing the traditional male gaze into the world, as well as the positivist implications in its approach. Recent feminist writers have lead me to set up a critical distance to my own gaze as a male-non-white artist in a male-dominated world.

I explore my own body, and its spatial relationships, in the assumption of my own weakness and failure: my performing body is bound to fall and fail. Unlike the traditional narcissistic body in early performance pieces, my body is a simple vehicle of communication processing; because of this, I perform with my body as well as I perform the body of other people.

Technology provides me a link to the current status of the dominant gaze. Surveillance cameras and motion sensors describe the world as perceived by one who fears the other; when I use such elements in performance, they become an embodied distrust. The raw quality of the surveillance camera, unlike the cleanness of digital video, presents an unrefined state of reality.

My own role as performer has shifted between two poles: the performing body creating a temporary fragment of space and time, and the performing self searching and reaching out for the other.

The audible world is as crucial in my work, as my body can be. Sound elements in a performance piece are one of the main threads to connect ideas into the minds and souls of the audience. As a member of Girls in a Cage, an experimental audio art group (with Camila Schliebener and collaborators Amanda Yrarrázabal and Paulina Mühle-Wiehoff), one of my first concerns in the construction of a performance piece, is the elaboration of its audio. Sometimes the resulting audio includes sampled texts from varied sources, sometimes the audio resembles experimental music, but always audio is a relevant message in the context of a performance piece.

The material aspects of my performance work are presented in the shape of different meaningful objects. Those objects are sometimes barely visible for the audience. Their presence, though, are significant enough to render meanings impossible to convey by other means.

Performance art for me is a constant process of learning, understanding, finding and missing.

The performance artist is a small investigator strip-searching reality to release those questions which are kept in its core; the answers are for the audience to be solved.