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The encounter between the artist and his work is a place where there is no room for words, where explanations are always inadequate and insufficient. There is something automatic and repetitive in the artistic activity, an impulse to action dominated by the pleasure of making marks with no other significance than the immediate expression of a state of mind. The organization of these marks on the canvas or the paper emerges later, as an immanent necessity of each individual work, in a process of visual articulation or balancing. Intuition is the guide. In this subjective exploration on which my images are based there is always doubt, anxiety and anguish about the work and its capacity to shine some light or indicate a path or suggest a possibility, in effect, to arrive at emotional recognition. A profound dialogue with a work of art can take us away from the world of the profane and maybe, briefly, we can enter into the realm of the sacred, away from the daily routine, it can be a source of spiritual enrichment. This I consider to be a full realization of the creative work. My work does not contain a message ready for consumption by a relatively indifferent viewer, it needs time for contemplation and familiarization to unveil it’s intimate sense, to communicate with it.
I find in the geometries, the abstract motives and the repetition of marks, the language of a visual rationale. This visual geometry is the general assemblage of my work; from there I depart to break or accentuate the symmetries and proportions. There is a constant dialogue between organic forms and hard geometries, the abstract imagery encompasses allusions but cannot be translated as concrete, specific references; to do so would reduce the imagery to a single dimension and would diminish its contemplative spirit.
The symbols and the images take shape in a floating plane of underlying memories, with multiple layers of significance and references. Painting is a constant activity of creation and destruction of references, in my works I register this processes of assertion and denial, erasing to later uncover images that lie silent under layers of paint and oblivion, forgetting and remembering in a constant flux that results in what I would call a visual archeology of memories.

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