Nicolas Sarmiento

Part of my life has been heavily influenced by traveling in public transportation and by the fluctuation of economy and language, as a process to think new configurations of reality,
from precarious or simple elements that come from the ethos of the working class, to the potency that could be developed from the stagnant energy of distant places. I ideally try to create a demystifying kind of transparency in my role as an artist, fluctuating from a flimsy monumental large-scale to a shoe-size output. I am concerned not only with the many aspects that surround sculpture and drawing today, their aesthetic and formal values, but also their social aspects
and how these qualities determine the work's position in the public sphere, and in our private, interpersonal, sphere. My work and my thinking are embedded in research, research that is oriented not only to the subject matter, but also to an appropriate understanding of the language, the medium,
and the form that a work of art takes in different environments. In this way, I am interested not only in an obvious understanding of form as shape, but in form as frame, as discourse, as a condition for something to take place. I could say then, that my work reflects on the human condition and the complex relations we establish both with industrial post-capitalism and nature.
In that sense, lately I've also been investigating amorphous processes related to perception, economy, and community in order for a world that could be more coherently distributed.