I like many materials. Everything can be useful, not only physical objects.

Many things. When I’m producing, my studio is a mess. The last thing I care about is keeping it clean. I use a few power tools for some kinds of production, and there’s a lot of accidents and residual stuff that helps for future works. I try to keep in my studio everything that I find interesting in the process.

It’s good and interesting by itself but also enriched by foreign artists that arrive to the city everyday looking for a cheap and interesting place to live and produce. I think this mixture is good, because diversity always puts in perspective local art production. Especially in a country with very strong nationalistic tradition. It’s also well known that in the whole Mexican art scene there’s very little professional art critique, that’s its weakness. In parallel, there’s also a very strong and consolidated art scene.

Inspiration is a tricky word. Maybe not for inspiration, but to try to figure things out, I love to take late night walks in parts of the city I’ve never been before. Mexico City is a place that can give a lot, but it also takes away in many ways.

My work is very formal, so I always keep learning about these kinds of things. I also feel attraction for industrial processes and how things work in general. For a long time, I’ve been experimenting with a lot of stuff, and now I feel comfortable with the first results that come from this investigation.

Tomás Díaz Cedeño, Untitled (Black, White, Flesh), 2015, Vel-mix, pigment, plastic mesh, aluminum