Tote Hasen. Ulysses’s Wind

My first pieces of video-art go back to 1998. Made with precarious analog procedures, these videographies had their origin in the interest that raised me the audiovisual media, more than a full mastery of his narrative. Even so, in these early works (‘Someone watching you’ 1999, ‘Garden orchids’ 2002, ‘The garden of the Esperides’, 2002) the image has a documentary source, and appropriate or recorded records built a kind of password-audio-visual that nowhere responds to its origin and in which "everything" represents the plot conclusion. Since then, my work at depth in this format, gaining in recent years more interest and importance than the rest of their productions elsewhere.
Most of my videograficos projects are characterized by their origin performance in which I am immersed in what I call as "States of reality", visions that cyclically revolve around the concepts of 'time' and 'life'. Through these videographies playing different aspects of contemporary video art (video, video-narrativas, video- documentary, video-footage, etc) on board my own biography, in fact they are a video-biografia that keeps a constant pulse with the ficcion of the narrative stories. Itself, complex allegories that built in order of deconstruct my life.
2007 is a crucial year for my career in the audiovisual world. receiving training in the School International of Cinema of San Antonio de los Baños in

Havana, Thanks to the Scholarship of the city of Córdoba (Spain) and FoundationAwardsAngelofPainting (Spain)withpiece‘ThePreacher’,2006.
This experience will mark my work that now will focus on the ideological limits of social and its history completely (‘Pigs’, 2007;) ‘Desal’, 2007; ‘Dogma’, 2007; ‘All loved was part of me’, 2008; ‘Prologue to a perfect human’, 2010). Other issues related to the emotions are also frequent (‘The adverse effects of weightlessness’, 2012), uprooting (‘The man never was’, 2010), and raids on mythological subjects (‘Närke’, 2008) that were always a reference in my work. During the period between 2012 and 2014, my audiovisual projects raise a return to nature, as necessary to tell new stories. My most recent videography to definitively adopted the current of the current video art for a pilot videonarrativa whose central axis is located in the actions carried out by the characters and introduced the concept of Assembly as an essential part of audiovisual essay. Noteworthy are of this period works (‘Tote Hasen. The butterflies of Larusa’, 2014; ‘Marat’, 2014, ‘After Icarus’, 2013; ‘The adeverse effects of weighlessness’, 2012; and ‘Probably Forgotten’, 2012).
During all these years, more than 15 since my first film, I have been selected and invited to participate in numerous shows and international competitions of video art including:Optical Festival (Spain,Argentina,Bolivia,France);Videoart Festival 100 Kubik (Cologne, Germany); Circus Project (Cuba); Videoraymi (Peru); Inshadow (Portugal); Biennial Mecosul (Brazil); Incineration (Spain); Everything you loved was part of you (Dublin, Damascus, Brussels), etc.
Some of these projects belong to the collections of contemporary art in public institutions such as the case of ‘Närke’ (2008) City Hall. Almedinilla or ‘Narcissus’ (2005) collection of contemporary art of the University of Granada.
During these years I have also developed comisariales projects related to video art through the production company with which law firm regulatory all her work Vera Icono Productions, highlighting especially developed for Circus Project (2010-11) in Cuba, or the Cycle of Video-art International Overseas for The Sample of Cinema Andalusian and Mediterranean. Archidona Cinema (2013-15) in Spain,Venezuela and Peru.