Question :In a world where technology and nature increasingly intertwine, and where entropy seems to be a constant force, what role do you believe the artist should play in contemporary society? Is the artist merely an observer and reflector of their environment, or rather an active agent capable of intervening and transforming cultural and social reality?

 Oso : I believe that the role of an artist is inherently active, even if the artist does not consciously intend it to be so. The artist works from their passions, from their obsessions, and through their unique lens of perception their life, their universe, and their singular way of viewing the world and understanding themselves. The true work of an artist is to remain true to oneself and to reveal to the world that lens of perception: how they see the universe and interpret reality. Therefore, even if one does not intend to be an active participant, one inevitably becomes an agent of change, influencing the perceptions of others in some way. I am deeply influenced when I attend the opera, the cinema, or when I observe architecture immersed in specific environments. Architects, the spaces we inhabit, all of these have the power to shape our minds. As ontological design suggests: the tools we design, design us back. Thus, the artworks we create also redesign and transform us. Everything we create has the power to reconfigure us, to return us to ourselves from a different perspective. Ultimately, works of art resonate beyond their mere physical existence; they act upon society and those who experience them, molding and reshaping our collective perception. Even when it is not explicit, the artist plays an active role, albeit implicitly. Unknowingly, we exert a continuous and profound influence on the cultural fabric and the ways in which others perceive and relate to the world. It is an act of creation that transcends the individual and becomes a force that transforms both society and ourselves. As Terrence McKenna once said, “Society is the condensation of human imagination.” In this way, the artist, by contributing their visions and works to the world, actively participates in condensing and defining that collective imagination, helping to shape our shared reality. This version maintains the depth and complexity of your response, translating it to an academic and philosophical context that fits well with the nature of the question.

Interview 1

Question: “Your work often explores entropy, as seen in your water canvases that float in the ocean for months, and your collaborations with wild animals or natural elements like wind and dirt. How do these engagements reflect your views on the interaction between nature’s unpredictability and artistic creation?” This version removes the references you requested and maintains the focus on the core elements of your work and their relationship with entropy and artistic expression.

Oso: Yes, I resonate deeply with John Keats’ concept of Negative Capability—the ability to remain in uncertainties, mysteries, and doubts without the irritable reaching after fact and reason. I also believe, as Lucian Freud once said, that ‘the longer you look at an object, the more abstract it becomes, and, ironically, the more real.’ This notion, for me, encapsulates the essence of the creative process: an act that is always a leap of faith into the unknown, driven by intuition. I am drawn to the idea that all artistic work is ultimately a collaboration with the environment, whether it involves technology, wind, or the ocean. As artists, we engage with the entropy of life and ideas, acting as curators of this entropy—finding moments of implied order amid the chaos. In doing so, we dwell in ineffable realms of creation, shaping something that transcends the tangible and embraces the boundless unpredictability of existence.

Question “ contemporary Land Art emerged from a rejection of the rigidity of galleries and museums, allowing the artist to work with entropy, nature, and space as an inseparable whole. How do you think the shift of art into open landscapes, into in-situ spaces, has transformed our capacity to ask questions about the nature of the ephemeral and the eternal? And in what ways do these interventions into the earth allow us to restructure our understanding of the landscape—not merely as an environment to be contemplated, but as a living, constantly evolving entity where the artwork becomes an extension of geology itself?”

 Oso : I believe that the Land Art of the 1970s, and Smithson’s ideas about removing art from the confines of galleries and museums, have been reimagined in our contemporary context. The Land Art we experience today, in the age of technological singularity, is evolving, and ironically, museums can also become part of this transformation because the traditional boundaries between what is inside and what is outside are dissolving. We are now confronted with the necessity of redefining what a museum is. Today, museums can be re-envisioned under a new concept, and Land Art invites us to collectively question what form these spaces should take and how we should present art in novel ways. The essence of Land Art is not merely about relocating art beyond walls; it is about transforming mindsets, pushing beyond spatial limitations, and redefining the purpose and scope of artistic creation. As these ideas extend into museums, we find ourselves reshaping the spectator’s experience. No longer do we speak of a passive audience simply walking through a gallery; instead, we envision individuals engaging in singular, interactive experiences, influenced by new technologies and their personal interpretations of space. Ultimately, Land Art allows us to reconsider how we want museums to evolve and how they must transform through art and technology. It is not merely about display; it is about creating an internal peace and transforming the minds of those who engage with the art. The artistic experience in our current context must break with the notion of collective order and offer something that divides, transforms, and reconfigures viewers into individual experiences—something that fundamentally changes them by immersing them in the art space. In this way, Land Art and technology together compel us to rethink not only the physical environment but also the concept of community and personal transformation that art can catalyze.

Question: “Your work appears deeply connected to ancient traditions of ephemeral art and symbolism, evoking the wisdom of tribal cultures and the collective unconscious discussed by Jung . How do you integrate these universal archetypes and symbols into your practice, and in what way do you believe art can connect people to an ancestral wisdom that transcends time and space?”

 Oso: I believe that we are inherently symbolic beings. Our minds operate more fundamentally through symbols and imagery rather than through articulated language, which is a subsequent construct. At our core, we perceive and understand the world through symbols. This is my belief. As Jung and Campbell suggested, we share a collective unconscious, a repository of archetypal symbols that emerge and repeat across different cultures and epochs. The use of symbolism, as seen in the practices of many ancestral cultures, indigenous communities, and Native American peoples, deeply fascinates and inspires me because of the profound meanings that a symbol can hold and convey. I find particularly evocative the use of symbols within ephemeral art forms. The Navajo, for instance, created sand paintings that were transient, reflecting the impermanence of life. Similarly, Tibetan monks crafted intricate sand mandalas only to dismantle them upon completion, while Aboriginal Australians employed  earth and trees to create symbols that connected directly to the land. There has always been a ritualistic nature in these forms of earth art, a cycle of creation and dissolution. To me, this kind of art is a symbolic reenactment of ourselves, a way to reconnect with the environment and to surrender to it in reverence. It is a ritual, an ontological altar for the earth. This ritualism, ephemeral art, romantic art, and symbolism profoundly influence my work because I believe these are expressions that all humans share. They represent a common bond that connects us to an ancient wisdom and a form of expression that transcends temporal and spatial boundaries.