NASEVO’s first works date from 2002. From this period we find large noses, huge noses in iron, wood, fibreglass, cardboard, clay, latex, tin, silicone: any material that exists adopts the form of a large nose that tells us EVERYTHING SMELLS. And not only does it smell, but as it smells the nose accommodates to the material endowed with the fragrance by capturing its essence. It is a moment of self-affirmation: I smell. It is as if NASEVO were bringing out into the light a profound need to communicate to the outside world what life is for him, the life of smell. Here we find the series entitled Metrics which he has continued to develop over time right up to the present.
Gradually the size of the noses has decreased in favour of objects that give off a smell and bond themselves to the nose inseparably. Here we find a series of works in which the nose serves as a template or framework, as a support for the various objects that want to be smelled without losing their identity. Perhaps indicative of this transition are the pieces in the series Clavosnas [Nosecloves], from 2003, in which the size of the nose is enormous but the ‘cloves’ attached to it are a prelude to a new creative phase. There are some very original works from this period, with old keys for cupboards and clocks, pens, pipes, rolls of film, light switches, nails, even roasted ants. Meanwhile, the nose, as it has become smaller, has begun to lose its anatomical shape and adopt geometric forms, at the same time embracing an element not previously used by the artist: added COLOUR. Here we see the series Geometrics, beginning in 2004.
Also from 2004 is a series that indicates the importance which attaches to olfaction as an archive of historical memory. These are pieces fashioned from simple elements such as zippers, shoe laces and so on, attached to a nose with an indefinite or abstract form, which suggest memories of our life by means of olfactory connotation. The work from this period that best expresses this memoristic reality is Recordnas [Remembernose] from 2003-2004 — the most ‘scientific’ piece from the artist’s work.
The period between these two stages is represented by an animistic, ethereal, nihilistic series, as if it were a test between natural reality and added colour: the white series worked in tissue paper or rice paper of Papelnas [Papernose]. The nose is small here, without a definite form, merely implied, as if suggesting that smell persists even in the colourless and formless. This process of interiorization, in contrast to the artist’s initial direction, gave rise to a stage in which the protagonists are others, objects. This was a period of affirming the ‘you’: you smell. The series Embolonas y Molinas [Plungernose and Millnose] indicates this with overwhelming clarity. We are smelled by roses, lavender, alcohol, coffee, grass, the garden, insecticides. At the same time we are smelled by photographs, portraits, advertising and every other kind of posters, even the traffic lights that we obey in our daily lives. We are talking about the years 2006, 2007 and 2008
This is where NASEVO really achieved communication: I smell things but everything around me smells me, too, and if I can get to know the smell of everything I am capable of communicating with everything, in that magical language that is the world of smell, the olfactory universe.
From 2008 on olfactory communication has been extended to nature. The artist, sensitive to the world around him, wants to express his commitment to the environment by using natural products. We now find works in marble, trunks of natural wood, still lifes of flowers, branches of trees; works that seem destined to blend into a landscape, in parks, gardens, in the countryside, in a process of camouflage with the environment. ‘I’ and ‘you’ fuse and result in the ‘we’ in contact with the nature of which we all form part, transcending the individual and merging in the collective.
The works then become more plastic, with the emergence of beautiful compositions in which colour predominates. This is the period in which the colour of smell becomes the protagonist. Here we find mosaics of noses of different sizes and colours — we could say that the noses are clad in colours. These compositions are composed of numerous individual pieces which attain their splendour by combining to form the final work, as multiplicity configures unity and gives it meaning.
NASEVO’s work is tremendously fruitful, experimenting with everything he feels may be of use in transmitting olfactory suggestions. Thus, we also find collections of masks, both for the face to mask the nose alone; switches, whose colour seeks to transmit the smell of the room we are about to enter; roof panels, not to mention the video works that get us to smell things through our computer screens. Everything is touched by NASEVO so that its ultimate message constantly reminds us that in life everything smells.