I come from a searching for a place in the world. From the possibility of finding it or questioning its own existence. From the nomadic nature of being, the itinerancy, the refusal of a home or a studio, the inability of closing myself in them. 

I come from a crossing of disciplines and an expanded notion of art: one that merges multiple areas. From the belief that art redefines itself at each given moment; it awakes, confronts and communicates. From the intersection of the personal with the political, the emotional with the social, the ethical with the aesthetic.
I come from the exploration of limits and boundaries, to what they signify and how they are generated. From the investigation of language, identity, individual and social spaces. 

I come from a reflection on exile, displacement and otherness. From an anthropological gaze that intrigues and fascinates; a constant observation and critical analysis, examining myself as much as my subject, away from the exotic or stereotyping. 

I come from a discursive and contextual practice, rooted. From an art of relation, from the dialogue, the importance of collaboration. From the need of bringing others into the performative process. From the wish to dissolve barriers between artist and subject, reducing the void between artwork and viewer. From the feared but desired intimacy with the Other, both external and internal to oneself. 

I come from what I see of myself in the authors, from the resonance and the echo they provoke. I come from Deleuze when he asks how can the cinema, instead of creating illusions of the world, restore our belief in the world; and from Kristeva, when she reveals the estrangement of the Self, and the difference that inhabits us, and from whom I borrowed the words converted into images, characters and alter egos. 

In "38 minutes of anthropology", I come from the human migrations, the contradictions and ambiguities between belonging and not belonging, from a rootless identity divided between origin and destination. From the desire to inhabit the space between contexts and identities. 

I come from a cinematography that incorporates dislocation as a visual element, and fragments the body in several landscapes. From a level of closeness and sensuality - the Other is both staged and found, in a intimate and confessional tone. 

I come from the interval between document and fiction. Without strict categories, seeking intensified moments.










   josé carlos teixeira