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When I think of my paintings and the relationship between them, I have the feeling that my concerns, my speeches, are moving at right angles to my arguments, and rely on these to develop a discourse beyond intuition. There are elements that are repeated, formal, symbolic thematics, elements of my own language nece… Read More
When I think of my paintings and the relationship between them, I have the feeling that my concerns, my speeches, are moving at right angles to my arguments, and rely on these to develop a discourse beyond intuition. There are elements that are repeated, formal, symbolic thematics, elements of my own language necessary for weaving a discourse.

My painting is an exploration of the universal and timeless, on different aspects and symbolic elements in the fields of culture and collective, that allows me to approach a transcendent reality and incorporate new principles of reality. The starting point therefore is not personal, or thematic or stylistic traits fortuitous there, I place everything in a collective, ancestral, timeless land and do evolve into a separate entity.

Francis Bacon defined the style as the connection between the nervous system of the artist and the work itself. My style came when I abandoned the search, in a period when I was not actively painting, It was something that began to define itself just when my judgment and me were maturing.

It took me some time to find my style. When I was younger I worked in different styles, it was as if I get up every day with a different plan of how I had to do. I guess that it happens to many people, you know or think you want to be an artist but really have nothing to say or it´s too soon for it. And so it took several years, infecting a kind of boring fun, something that is in the air, something too social in what we do and something that turns everything seemed anecdotal and predictable at last, as if life were a line where we all have to write the same thing with different letter, as if we were to find the same thing in what differentiates us, as if the style was an option. Barring some obstacles and guided by this definition I learned that the style is not chosen, and in relation to authenticity, I found my style, my way and finally my discourse.

The technical approach responds to give the work a certain own entity, which can be perceived automatically, without affectations, avoiding the pitfalls of academic painting. I need that stone is stone, skin is skin, can not be an aspiration or get there by associations or metaphors. That emphatically is part of my plan, and pay equal attention to all the little details than whole, because they are substantial and defining in an ontological context.

The technique is present, but simple technique is done. The tricky thing about my job is finding the right dynamics. Read Less
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