AT: What do you aim to reach with your work?

IF: Honesty with myself and in the development of my studio work. I am a firm believer in honesty and the way it generates connections with the audience and with the professionals I work with. I am sure that if the work is developed within these conditions, it will connect with people in a natural way, lending itself to reflection, interpretation and aesthetic enjoyment.

AT: What are your favourite tools and materials for working?

IF: It is the intrinsic properties of the materials I work with (shine, transparency, ductility) and their relationship with light (both as a technological manifestation through screens, and as a natural luminous phenomenon). This has me manipulating materials in order to bring them to the threshold in which their properties fuse with digital intervention. In general, the selection of materials I work with come from the industrial realm. Visiting factories is a very frequent step in my work process, as it is there where I first see the possibilities that each material may reach.

AT: What do you feel while you work? Do you usually think about the final outcome beforehand?

IF: During my work process, I go through different phases, that repeat themselves for every project. In the initial phase I need to do some field work, and also retrospective processes, looking for answers to questions that are related to the ways I want to direct my work. The next phase consists in production. This is the moment in which process leads me and it usually surprises me with unexpected results. During this phase, often ideas were a starting point are transformed, generating new work avenues from pure random, the unexpected and especially, from the sensations that I feel when I am manipulating the materials. I enjoy allowing all those new factors to be part of the final result of each work.

AT: How do you understand that a work is finished?

IF: My work has an important project component, in which methodology is very present, thus defining very clearly the phases of each piece. My objectives are always very present, and those objectives would indicate when I piece is finished.

AT: Where does the inspiration for the work come from?

IF: So many sources come to me at once. However, daily life is the main thread; moments that I find magical and that I would like to highlight. The titles of my latest individual exhibitions explicitly point at this source of inspiration. Especifically, my last exhibition in Bombas Gens Centre d’Art in València has the title Infrathin, which is a term coined by Marcel Duchamp. It means elevating the insignificant extracted from daily life. I watch and research in situations such as on the way from home to the studio, visiting the different industrial workshops I work with, the contact with nature and space… In sum, I gather impressions from daily life to materialize them later in the studio, through a number of processes.

AT: Are there any artists who influenced your works? Why?

IF: Absolutely monochrome painting, minimalism, and the supports-surfaces movement has been an influence ever since I started. Architecture and science are also great references for me, as it is the work by Neri Oxman or the discourse of historian Yuval Noah Harari, whose work I am currently reading in depth.

AT: How important is the role of social media for you?

IF: Our generation is clearly generating a common imaginarium through social media, which I find very interesting. I am not very active in social media, but of course I make the most of their potential, particularly platforms like Instagram, a place where you can see and consume images at a frenetic pace, and which is now becoming common place for a huge number of artists and creators. I am interested in seeing how we communicate and how we are socialised through this type of networks.

AT: As an artist, what is your point of view about the contemporary art system?

IF: I prefer to keep some distance from the systems that govern contemporary art, as they consume a lot of energy and I find they distract me from my daily work. However, I prefer to trust the professionals that are part of this system, particularly the galleries and museums I am lucky enough to work with.

AT: What do you find to be the most challenging or daunting thing about pursuing art? What is the most rewarding part of working as an artist?

IF: Those moments of research or processes that necessarily involve great loneliness I find challenging. It is hard to make decisions then. After those moments, it is gratifying to solve the puzzle of each piece, going from conceptualisation to execution and the final result appears. Such is, for me, the reward that makes sense of the initial challenges.

AT: What do you do besides art?

IF: When I am not working at the studio I try to research through media that may interest me, reading, cinema or visiting exhibitions. Of course I also need to spend time with my friends and family.

AT: What are your goals and expectations for the future?

IF: To continue having the possibility of researching non-stop, to continue letting my future projects lead me on, projects that I can give all my time and attention.