Segismundo’s rhizomatic work takes form under a pluridisciplinary practice that is sustained by appropriation methods, a deconstructive thinking and a subversive attitude towards art and life, constantly aiming for the created objects to reflect his ideas and concerns as an individual belonging to numerous collective universes, in order to generate a holistic transdisciplinary discourse. Thus, impelled by an electrifying era, in which its social, political, economic and cultural contexts always in mutation allow the manifestation of his critic sense, his work intends to raise questions not only about the way we think art but also the way we think the World today.
To create a deeper connection between art and life, the heideggerian concept of dasein was placed in the center of his own creative act as a way of relation with the World. This, along with his own awareness of art as being a metaphysical creation and therefore idea-based, as then led the artist into subdividing his work in three categories of the individual psyche as a pure manifestation of the self: Id, Ego and Super-Ego. The correspondence of these subcategories in relation to the work being created can be described as such: Id takes shape as an internal search of the being through an existentialist visual creation; Ego is presented as the actual relation between the individual and the World in the form of institutional and/or social critique; and Super-Ego unfolds as an external search of the artist through a compilation of his own set of categorical imperatives, as if a philosophy-of-the-self in order of an approach to the concept of becoming through a quest for aletheia.
Thus, it is no coincidence that this apparatus of the psyche as driven the artist into adopting his own surname of Segismundo as being his, both Apollonian and Dionysian, Übermensch identity in relation to the World as a whole.