The pieces were put together between 2007 and 2010. In total, there are 98. The materials from which the Carritos were built come largely from three main sources: surplus building materials, discarded objects found on the street and waste recovered during the restoration of old houses. During that period, I observed, collected, and tried to identify every small metal, plastic or fabric part that I found in the streets. My pockets were full of keys, screws, washers and every kind of object I could fit into them. This search for—and collection of—materials looked to me like snapshots in photography. Those mental snapshots assembled with one another as three-dimensional collages.
The actual building of the Carritos was similar to studio photography in the sense that there is a greater control of composition, as well as more time to mold forms and content, and, thus, define the aesthetics of the images.
I did not have a predetermined plan in building the carts. Instead, they are the product of quick, pragmatic solutions. Each cart has its own assembly technique, unique materials, name and photograph.
I have attempted to take pictures that only describe the object, placing it against a white background in order to isolate it. However, the images are portraits and, as such, reveal the influence of both the photographer and the object being photographed. The connection between sculpture and photography allowed me in an elliptical manner to expand the field of my work as a photographer and as a visual artist while documenting the traces of urban change.