Painting was always the main pillar of my work. Even when I am producing other types of work – objects, site-specific interventions or drawings – I always come back to painting. I would not say that it is my center of gravity, but rather that, as a dynamic activity, it accompanies me along the way. Or, put differently, that the other works are the pearls on a necklace and painting is the thread.
In the most extensive series of paintings that I have produced for some years now, landscapes and geometric figures are combined. An association of two apparently distinct registers that, linked in different ways and forming scenes dominated by an unstable calm and a certain mystery, make the tension between opposites the basis of the work.
In other series – “Las fuerzas extrañas” (The Strange Forces) and “Tierra de colores” (Land of Colors) – this play of contrasts appears by way of the combination of the digital and the hand-crafted: on the hand, I produce the drawings using mathematical computer programs and, on the other, I develop the processes of preparation of the papers and canvases, which I immerse in tubs containing inks diluted in water and which I treat with mixtures of plaster and ferrites. In these processes, I also especially design and construct both the tools and the teams that I need: for example, a light table for tracing, a portable homemade projector, special rulers or large tubs for immersing the papers and canvases. The play between a moment of analytical or calculated production and another moment that is more linked to the sensible or intuitive is always present. These tools have a direct link with my industrial training (where, among other things, I learned technical drawing, welding and carpentry), to which I always make reference in my work: above all, in the construction of the objects.
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