Before sculpture, painting was the natural media that I approached in order to recognize everyday experiences and to fix personal moments that had been etched on my memory (1980); but the canvas started to leave behind empty spaces along its margins. That was the reason why I embarked on other inquiries. I was living in Medellín, Colombia when the city proposed an urban renovation project that included the arts. As I started developing proposals for urban sculptures,(1985) I had to deal with an interesting counterposition between the parameters that architecture puts forth - its scale, its materials - and the pedestrians. During the process, and throughout approximately ten years, those premises proved themselves limiting because of their extreme pre-determination of the ways of doing and perceiving. The way in which the present, in its simultaneity and its relations, started to hold down my gaze differentiated the working ways that an approach to sculpture requires. Then, as I recognized variances in the ways of approaching the processes, I ventured into a rupture(1995). I was ready and willing to assume a change and to take a turn. I sensed that I was doing it then, but starting from accumulated experiences. In the eighties, Colombia suffered the most violent and complex moments in a social order that had prevailed for the previous fifty years. The media set the alarms off, and its role as a protagonist has had a disproportionate effect upon everyday life since then. These circumstances attracted my attention and increased my interest in getting closer to the real, in contemplating direct experience, the affections, the accumulation of unforeseen relationships, what we are, indeed - and the archives as well. The video camera and sound devices provided for me not just an access to images but also to the real time of thoughts recorded on and by those devices: among others, the non-linear possibilities, the unattended auditory, the conditions of simultaneity. With installations, video and sound, I have progressively found a way to propose multiple combining and coexisting structures, generated from the time and space of an experience, in order to produce a site of confluence for the artist and the visitor.