ReSources studies waste under its material, inmaterial and symbolic realms, every time through a different medium and narrative.

"What is waste?" was in 2015, and it remains to be the driving force behind what became ReSources. A project that began with an unanswerable question, trying to make sense of an idea that made no sense. How was it possible for waste to develop at such a rapid pace and, at the same time, acting ourselves as if it had no consequences to come? These were times when ReSources' idea of waste was considerably more limited than it is today, focusing on waste as trash.

ReSources, then beginning in Italy, fueled this question through the collection [accumulation] of recyclable and non-recyclable household waste, frankly, with the vague idea of eventually building something, under artistic work , free of any utilitarian commitment that could hinder the core of it. As time progresses and the volume of waste increases, the conclusion is drawn that each waste item would be better served as a larger whole, one that ignored the parts of the sum, and saw only the sum. So in 2017, in that spirit and with the cooperation of the Municipality of Milan, ReSources almost took shape for a week as an art installation at Spazio Ex Fornace, a local art gallery, alluding to what would become the ethos of this project for a few years, though not forever: to make the ordinary extraordinary.

After the ReSources Milan exhibition, the project will understand that, by obvious consequence, it must continue, or begin.

It's fair to say that each step in this decade of research with ReSources opened up new ideas, new concepts, and new paths. Thus, ReSources will subsequently be developed in Kathmandu, Nepal, in 2017, as part of a workshop integrating a Project-Based Learning [PBL] methodology. Around ten local students between the ages of 10 and 18 participated in this two-day workshop. They will explore, from theoretical perspectives on waste, sustainability, and creativity, and conclude with the practical construction of a sculpture in Nepal. This sculpture, made from waste from various sources, especially public and street waste, completes the reflection on resources and time.

ReSources integrates the component of shared authorship and a sense of belonging, in addition to the educational aspect. In its next chapter, ReSources was launched in Santiago in 2018, again built on the workshop, this time with a total of two weeks of remote work and two days of in-person training. The theoretical and practical route from Nepal was once again applied, culminating in an installation in Plaza Camilo Mori, in the well-known Bellavista neighborhood, all made possible thanks to the cooperation of the Municipality of Providencia. This work, created by a heterogeneous group ranging in age from 18 to 70, with nationals and foreigners, people with stories as diverse as their abilities, questioned, through the use of commercial waste, the boundaries between the useful and the useless, and how human relationships with these elements were structured. It also revealed some blind spots in current recycling systems.

Then held in Helsinki, between 2018 and 2020, and in Zanzibar, in 2020 and 2021. Both projects involved waste objects that were always new to ReSources and addressed their own narratives, obviously also considering the territorial issue. Packaging plastic, books, and all the waste involved in greenhouse tomato production were used in Finland, respectively, working on the narrative of the importance of play, the origins of knowledge, and the industrial disposal of waste. Meanwhile, in Zanzibar, waste was understood in its polluting dimension, through the water and flooding that plagues the island year after year, and how this plays a preponderant role in the normal development of its inhabitants. This brought the concept of delay, or delay accumulator, into systemic thinking. This exercise was presented as performance, research, analog photography, and exhibition on its own website, permanently online.

More recently, the Alphabet 01 project is being developed, a research project that in 2021 and 2022 reports on the issue of visibility and the layers that divide what is in plain sight from what is hidden, studying in this case the garbage dump, and; then between ReSources and a doctoral research from the University of Granada that explores, in the hands of Jimena German Blanco, the pains of the soul, for which the artistic transfer has been commissioned, for which its exhibition is planned for October 16 in Granada, Spain, sharing space with various Latin American artists, in addition to the publication of all this in an object book by the Mexican publishing house Esto es un Libro. ReSources in this instance is made of nails as the main waste object, material and symbolic, and with them and with the help of acrylic paint, cement, wood and metal, to create an installation that locates internal pain as pollution.

ReSources, in its divergence phase [approximately 2015–2021], addressed waste by transforming the ordinary into something extraordinary. Furthermore, it was presented as a shapeless project that promised nothing more than study.

Today, ReSources has two distinct mechanisms: defamiliarization [Shklovsky, 1917] and attentiveness [Saito, 2017], and takes shape as waste driven arts, research, and development , with a somewhat clearer vision of the subject.

ReSources currently seeks to expand on how the artistic defamiliarization of waste acts as a creative catalyst, symbiotically delivering a useful result through the study of the seemingly useless. A systemic thinking project that seeks to suspend the condition of perpetual externality that plagues waste and, at times, view it from a different perspective.