"First memory from my childhood is holding a pencil by myself, I was seating in a desk tracing circles on the paper. I have a very vague picture in my mind of that so I don't know if I was drawing or handwriting the letter "a". Perhaps the interests that have defined my career up to present are reflected in that childhood reminiscence as well as any curriculum:

As you can suspect the relationship among these disciplines is almost elusive, but not for that less certain, the circles are themselves mathematical,, it also is psychoanalysis...My work is defined by that endless possibilities, by the ins and outs of this Gordian knot.

Almost all my paintings are focused on what we might call "other realities" and so many people define my artwork as "realistic ". Which seems rather a paradox, because trying to capture the reality is something essential for growth, if we don't do it we die, although falling into credulity that what we see and feel is the "reality" is a physically and psychologically folly proven.

I think with the stroke of the palette knife and brush tip. For me, painting is the way I can understand the world, each stroke inserted to myself into a new reality, in a surprise, it puts me on to an alien world which hurts my narcissism.

"These other realities" are only one possible interpretation of my reality. Painting "interprets" to me in the psychoanalytic sense of the word. My experience about the act of painting is similar to a session, one lies on the couch and talks free associating (an impossibility in itself), disappears in these words without meaning to be reunited with a crossed out, inserted in a speech in the Other. I come to a place, I sit on the floor and paint, there is no preset idea, only the glance captured by my eyes, I disappear in shades of colors, lights, textures and strokes, later the canvas or the pictorial series returns to me some kind of "knowledge " about what I glimpsed.

I give light, shape and color using the palette knife, give them to the minutiae of daily life, the atmosphere that surrounds them, the anonymous people ... those residues that make up the unconscious, that go unnoticed but making up the life and the culture.

In recent years, I've needed to adopt a new position faced with Art, which is suffering a really distance of "the heritage we all share". So I demand Art as a "shared rite", further away the mere show, the "slicked down performance ". I'm interested in the "act", in the "scene" where the artisan and the interlocutor create a new space away from their narcissisms. That's the reason why I'm painting and showing in the streets, in the gardens, in the mountains, in the public spaces lately, where the passed-by can stand at my side, looking at, taking part and performing the painting".

 

1 de Noviembre de 2010