San Nicolás de los Arroyos is a metal working city in the Pampa Region of Argentina. It was there that I was born in the winter of 1987 and where I took my first steps months later. From that moment onward, artistic research in public places, relentless trekking, coexistence with American and African communities, and social and educational projects in rural communities have articulated chapters of a narrative which was most of the time disconnected and vague, and in which curious onlooking becomes creative activity.

My creative process was born in the confluence of path and image, and the intersection of the anthropological and the visual.

Some people say that walking new paths dislocates one’s stare. If it doesn’t do so, at least, it invites the viewer to migrate their view; it suggests a retraining of perception and of the perceptible. The passive act of contemplating new world views is the prelude to a committed action aimed at configuring new images, raising new questions, drawing new horizons.

Along the way, I intercept those images that generate more questions than assertions. I inquire into the questioning matter of the dislocated sign, drawing possible forks in the road of the immeasurable semantic field of interpretation. To do that, I use different techniques: photography, performance, sculpture, writing, design, videos and sound experimentations.

When one’s gaze becomes unfixed, the sign contorts as gymnasts do, unveiling its great elasticity. To those who believe they have no escape and step on the flowering sprouts under their feet, I bring a fruitful world where questions can be sowed close to that diffuse frontier, where the symbol loses its semantic singleness and takes on multiple meanings.

This game surrounds the image, the image turns into question, and the question is the fuel along my path.

Arturo Rugh