Repetition is not repeating

In any form of art, translation involves a technique of concrete materialisation. An awareness that images are constructed by taking into account their materiality—how they are made, what sensory experience we have of them—which requires us to understand the different procedures through which they are embodied. I have recently returned to silk-screening as a way of transferring drawings from one technique to another. Silk-screening always has the ability to surprise, and it is important that what you do surprises you. There is something magical and amazing about an image which suddenly comes up: something in which one's own body is involved. Through a movement, through an action, we obtain an immediate, undelayed result. What it is obtained is the remnant of the action— the remnant as an organic result—which implies the idea of the abject. This process of working from the materiality of the images means not so much documenting a process—which consists on reworking the drawings through the silk-screen (the notion of the document acquiring a certain virtual character)—, but of combining the ideas of the remnants as an organic and abject result, as the unassimilable.