My work revolves around the convergence of landscape painting and strict geometry: Two apparently distinct styles linked in different ways that shape scenes dominated by an unsteady calmness and a certain mystery. This tension of opposites is the base of my work.
The geometric drawings and corporeal shapes have their origin in my early training, where technical drawing occupied an important space. Elements of different universes, like sacred geometry, occult symbolism, industrial design, Arte Concreto, or molecular geometry, very often assist me as starting points to create these shapes. My work is divided into several stages: The organization of actions, such as the drawing design in AutoCAD, the plotting of these drawings, the transformation onto the canvas, the layers of different paints in oil or spray paint, the masking of these layers, the creation of a support - in case it´s not a stretched canvas - and other actions, generally primarily linked to the geometrical, lead me to the establishment of a work plan and methods that follow certain rules.
My landscapes are influenced by Metaphysical Painting, European landscapes from the sixteenth, seventeenth, and eighteenth centuries, the Venetian School, and Fauvism, as well as abstract expressionism. It's quite common for my paintings to have references to such traditions as the History of painting. But with respect to this fact and in relation to the execution of the work depending on an established plan, I think it´s important to say that the most crucial moment for me is when I start putting the paint onto the canvas, the act of painting in the most spontaneous and substantial sense, the transformation of a visual idea into something material. The arrangement of the brushstroke as expression, going beyond references in terms of the landscape, even going beyond the initial impulse of this landscape I was visualizing to transfer onto the canvas. I consider the brushstroke's entity much stronger than the standard relation of that brushstroke with a tree or a rock. In the end, the instability of painting as a physical fact is not only an illustration of an idea; it's the result of a circumstantial and ritual process that reaches it's peak in the moment of its execution.