My work stems from a need to shed layers of artifice and leave a mark stripped down to its essence—a free mark seeking a direct, almost primal dialogue with the viewer.
There is no desire to define things at all costs; rather, the aim is simply to traverse the surface and meet the viewer’s gaze, unfiltered.
Painting thus becomes an immediate language, a process of both subtraction and accumulation.
Every action is essential.
Here, the space is deliberately minimal, opening up to a depth composed of sensations, time, and transformation—a realm where memory helps reconstruct the whole.
The painting opens itself to traces of past lives, allowing them to persist in new forms. The surfaces carry stories, errors, and layers—a silent reminiscence that is an integral part of the work.
These pieces do not tell a linear story; instead, they evoke fragments, residues, and presences.
My work explores the relationship between the landscape—perceived as a subject—and its transposition into an inner state.
I depict landscapes—or perhaps it is better to call them open or enclosed spaces—that coalesce into thick mixtures of color and matter; they are present yet sometimes erased until only a vestige of the visible remains.
While marks and stains may partially obscure the figurative elements, they give rise to a more complex image—one rooted in the subject's intimate experience.
Clumps of dense, often dark paint may crack, dissolve, or appear intrusive—even dissonant—becoming presences that take over the landscape’s naturalistic space, even though that space is not entirely dedicated to figuration. The purpose of these presences is to highlight the resilient power of light—perhaps the true and sole subject of these works—as it manages to shine through and pierce the veil of residual shadows that oppose its luminous nature, however veiled that may be.
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