Dresdner Schmalfilmtage (Dresden, Germany. January 2012)
Curtas Vila do Conde International Film Festival (Vila do Conde, Portugal. July 2012)
Jornadas de Reapropiación (Mexico, September 2012)
Experimentica, Vertical Cinema (Cardiff, Wales, November 2012)
Hundred Film Festival (Calgary, Canada, March 2013)
Images Festival (Toronto, Canada, April 2013)
La Casa Encendida (Madrid, Spain, February, 2014)
CA2M Centro de Arte Dos de Mayo (Madrid, Spain, March 2014)


The idea for this series evolved accidentally, as its images are the ones that I discarded when selecting
others that interested me for the films I was preparing. Unknowingly, I was accumulating source material
for these "Filmic Sculptures", which I can only name in this fashion for a simple reason: its value,
as an object, is what defines them first and foremost and bearing in mind the work process I've followed,
it seems reasonable to mention them beyond film context.

The only way to explain this series is from a formalist, cerebral angle, without disregarding —luckily—
its contradictions: the plastic qualities on each piece, their rhythm, their audio and visual intermittences,
coupled with the noise of the splices heard during the projection and the avalanche of all kinds of images,
contradict that initial idea which we may have formed, introducing a virulent, nuance-less note.

Regarding editing, and beyond the fact that it is a purely mental operation that has no room for improvisations,
it is important to stress out its agonising condition: the high level of splices that I usually make, sometimes
over 400 in 2 minutes, leaves copies in such a fragile state that it is probably wise to not project the original rolls too often.

The forthcoming "sculptures" will have the usual brevity. The initial ones reach precisely the 2 minute mark
(minus credits) and it is very likely that the following ones use this length This can be explained by the type
of editing that I propose: a sequence of concrete elements (fragments from fiction features, ads, documentaries,
black leader, red leader, etc.), combined according to a previously set pattern, to be steadily repeated until
its structure fully reveals itself, when to show it is no longer needed.

I haven't decided on the number of pieces I'll do; it will depend on my capacity to imagine different editing versions, all different from the previous ones. I will work on 16 mm, although maybe in 35 mm as well, especially
when editing sequences made of single-frame cuts.

All sculptures on these series will be available in private links. Those interested need but to contact me to be
able to watch them.