My artistic work proposes an intersection between early music, free improvisation contemporary art and audiovisual language. I am devoted mainly to Live art and Video art addressing issues such as gender violence, migration and subjectivity. Some of my works are based on preexisting elements of different nature, such as music, ideas, symbols collective and autobiographical memories, that I use in order to perform a conceptual idea. My current works propose a dialogue between elements from medieval culture (such as songs, iconography, calligraphy or gestures) and contemporary concerns related to self expression in coercive social context. I propose the use of ancient artistic expression according to current concerns, that is to say, a use that is not limited to heritage valuation and historical reconstruction. I try to produce performances where I explore different expressive media in order to stimulate the senses of the participants and involve them into the action. My intention is to encourage reflection on the taboos and conventions that determine the physical and emotional expressiveness of both artists and audience. I make a special emphasis on the freedom of each individual to receive any art form in its own way, without feeling restrained by the rules of the academic art world.
On the other hand, I am interested in the application of humanities knowledge in the artistic creation. I am musician and researcher and I think is possible to express the results of my research in an artistic way. When you carry out a research, you develop a close subjective relationship with your topic that cannot be expressed in an academic paper: you need to express it in an artistic way.
Why early music and performance art?
At one point of my musical career I realized that the standard concert format of early music did not suit with my interests. The image of the black-dressed musician was for me like a rejection, not just of the body but also of any other element different to the “music itself”. I thought that this kind of musical performance denies the inner performativity of music making. Furthermore, my experience with the study and practice of medieval music was not limited to “music itself” so, I felt the need to express my personal relationship with this repertoire through an interdisciplinary approach. I conceive medieval music and the cultural environment surrounding it in connection with contemporary concerns related to body and subjectivity. In my performances I try to make a bridge between cultures and disciplines in order to express contemporary questions through the performativity of musical experience.