The “photoassault” was born during my undergraduate years. I used to share with a group of graffiti artist friends. I wasn’t interested in graffiti as such, but in the gesture of entering prohibited or very controlled places and leaving a sign of existence; declaring that reclaimed the space and showing the system’s flaws. Risk is a pattern in this practice. I decided to call them Photoassaults because they assault the public space, they are fleeting, they have a determined and specific target: they have a preconceived image, they count with a lot of planning and with accomplices.
The risk took a fundamental value in my artwork. But I didn’t just want to become addicted to the adrenaline rush that is generated by vandalism, I wanted my impossible image to have a political relevance that charged it with historical value. That is why my view was directed to the monuments. With its symbolic value. The monuments underpin a cult to heroism and the epic, but also to modernity.