My career aims are focused on the search for site-specifics that are not solely offsite projects but also involved in the desires of the community, the space or both. I am particularly interested in spaces which are part of community heritage and I would like to create communication between these spaces and their locals. I hope to be a freelance curator in the future working closely with communities and site-specifics.
I consider if a curatorial practice could mediate developing a democratic dialogue which includes artist, space and audience. To answer this question I am investigating the relationship between the three as well as examining the creation of a social environment in which people participate in a shared activity, making them feel part of the process of creating identity. The objective is to study the creation of a democratic model of dialogue between artist, community and space and collaborate in the creation of a community identity, understanding this democratic model of communication as the participation and collaboration of the audience members in the production of a work of art.
My project focus on community identity through forging a link between the community and their heritage. I am interested in places which the public have a shared history and social interest and need to be highlighted (which need to be indicated to/for the community). I would like to see if curatorial strategies can collaborate with social regeneration, the region's economy and community identity and if an art project can be the scaffold for a site and help shape its development. Finally I would like to see if a curatorial practice could generate lasting identities in the community or if it is only a transient situation.
In my MPhil studies, “Concept and Theory of Art and Cultured Heritage”, I concentrated on the creation of identities through the history of art and how political and social points of view of art historians' theories could influence the way we perceive Spanish avant-garde art. My MA in Contemporary Curatorial Practice at BCU introduced me to the school of thought which expounds the creation of spaces rather than the usage of 'white walls'. Similarly, the course 'Aesthetics and Contemporary Art' proposed ways of contemplating contemporary art.
 Identity is “the heart of the enterprise, and temporality its sustaining element, the essence of its constitutive structure.” E. Said, Reflections on exile and other essays (USA: Paperback, 2000), p. 463.
 To see more: Suzanne Lacy (ed.), Mapping the Terrain: New Genre Public Art (Seattle: Bay Press, 1995). This curatorial model in site-specific could be characterized by the relationship between the contemporary artist and curator when they come together for a common purpose within the space.
 Such as the theories of Deleuze, Benjamin and art and architecture the last 50 years and so on.
CV & Education
Qualifications and training
2009 - Assistant Exhibition at Re: Place, Birmingham Bourdeaux exchange.
2008 - MA Contemporary Curatorial Practice, Birmingham City University, Distinction
2005 - Mphil Concept and Theory of Art and Culture´s Heritage, Universidad Malaga, Spain, Distinction
2005 - Postgraduate Course; Theory of Aesthetics and Contemporary Art, Universidad Malaga, Spain, Distinction
2003 - Training for art educators, Picasso Museum, Malaga, Spain
2002 - Master Degree in History, Universidad Málaga, Spain
2009 - ARTARTART Magazine, London, West Midlands Editor.
2008 - Zoo Art Fair, London Researcher-Internship
2007 - – 2010 International Project Space, Birmingham Gallery Assistant
2010 - Swimming Without Water, Moseley rd. Bath, Birmingham, Site-specific by Debby Akam, FLora Gare and Tim Skinner, Sponsor by Art Council, Birmingham City Council, Birmingham City University, Awared by Inspired Mark of Cultural Olympiad.
2008 - “Next Stop” Exhibition (Jose Luis Puche). Specific Site in Saint Martin’s Church, Birmingham. Funded by the Arts Council and Andalucía Council, Sponsored by BCU.
2006 - “I Have A Dream” Exhibition (Pil And Galia Kollectiv). Sycamore Rd In Bourneville, Birmingham
2007 - Talk entitled “Can hacktivist art be a real instrument of social change and how does it avoid compromise within the logic of late capitalism?”, Talk Art of Protest: Art, Activism and Oppositionality, Symposia at the Tate, Turner Prize 2007, Liverpo