The paintings are made with oil paints and pencils on plywood.
My internal speech while I work is on vertical and horizontal, light and shadows, hot colors – cold colors, finding the balance in the multiplicity and bringing it to a place of contraction - when I experience silence in the finished work; create a composition, be in a dialogue with complex rhythms, with the odd, from the line to reach the stain. There is always a process of dissolution and assembly within the work and the image.
The images began from photographs I made of landscapes which I dismantled in the painting and put together again to the whole. The lacquers for fixing and finishing are part of the materials in the work, as if they are being submerged the material - the various pigments - and connecting them to the wood.
Ruins, ancient trees, the connection between them, the left over, what remains of the human culture, which has been abandoned, and the life of the vegetation and the trees on it. The experience of the hidden with no access to, but traces, the sound of that inanimate reminds me an underwater diving; the experience of the sights that passing by, the special sound that accompanies them.
The experience and the possibility of "whole" as a maker, between the material, the medium, the subject, the decomposition and assembly, occurred after reading an article about the "Rhizome", written by Deleuze, Guattari. At first my friends called my works 'Rhizomes'. The 'Rhizome' talks about a way of seeing the world and its behavior in a non-hierarchical and trees like: roots-trunk-branches-tops, but rather as the growth of a grass that sends extensions of the same one as a multiplicity of lines that create the image.
I experience the paintings as something that can be wandering endlessly. The eye can be fixed and move at the same time and not satiation from the encounters and complexity that exist within the painting.