Adrian, we ourselves, render "innocent" photographs or films... the structures we build in the studios and almost everything that appears during the weeks that the construction process is taking place. These photographs and videos afford the internal structure of sculptural pieces the possibility of becoming something in-and-of themselves: they cease to be the skeleton of a future clay sculpture and become autonomous and independent "form." Furthermore, these photographs and film recordings of the structures and situations in the studios become the model and point of reference for a later split in the work: drawing and painting. What emerges then is and exercise of drawing and painting, that revolves around the structures of the construction processes rather than the sculptures themselves.
Excerpt: Innocence, Error, Pride. By Ariel Torti, editor: Sebastian Villar Rojas. Films Before Revolution. Museum Haus Konstructiv.
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