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
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