Blanco casi oscuro.

Trying to remove the theoretical halo of abstraction, a formal level, find in it the synthesis, the vital of what surrounds us. We find in this direction another way to understand and relate to our environment, to decipher it and transcribe it in a subjective way about the support.

I come from a work route mainly in figurative, fetishistic, highly recognizable and very little interpretable images. The objective figuration.

In this new task there is not only attempt to synthesize under my codes and references that are the many shared. There is also a confluence with formal, gestural and compositional cleanliness. The austerity with the means of work, the connection with the essential.

In this search for the primary, the encounter with the pencil and its nuances. In that infinite world I build.

In this search for the primary, the encounter with the fabric and its textures. In that infinite world I enjoy myself.

In the game of the geometric, in the straight line that the horizon draws not only the base of the perspective, of the depth, but also a vanishing point that is this case for me, it is hope.

The formal and material austerity, the tonal progression as a point and encounter where to rest the gaze and expand the subconscious.

Continuity, landscape.

The work began focused on cleanliness and neatness in the line,

an aseptic finish, a clean blur, a classic support.

At the beginning of the graphite and the cloth together with the paper were the technique and the support used

motivated by the search for simplicity and austerity, without showing off in this aspect and focusing on technique and finishing as an aesthetic engine and the degraded as a summary and meeting resource of all volume.

 In the way of doing, the encounter with the public, the strength and meaning of the work has turned towards the power in the stroke, the gestural, the need for graphic texture as a fundamental component of the work.

What was once a smooth and clean surface in a succession of degraded tones that ended up fusing with the fabric, is now a cluster of strokes, gestures that give the pieces a vitality and energy that they previously lacked.

In this gestural work, intuitive in the doing, it takes me to processes that remind me of the innate primary activity, the impetus to do by and to experiment in confrontation at the calculated and cold start.

In this gestures, in this infinite cluster of lines, I feel that a surface is created that invites observing, losing oneself and meditating.

The surface that I identify now as infinite landscapes full of nuances, of light and dark worlds to travel through.

In these spaces that have now become the paintings converges interests that satisfy different aspects of the self as an artist, as a producer.

A language that does not try to represent.

The work as a space to be.

It is not a new idea, but it is at the moment in which I am.

In building spaces where to be, where to observe. This interaction between work and spectator now interests me greatly