In my paintings, disposing of any figurative element, I try to give consistency sensations or emotions, materializing them in simple or sophisticated compositions, appealing to suggestions but not excluding references to evocative areas. I think in this way, the emotional charge that I try to fix on canvas in a artistic building, devoid of anecdotal detail, is much closer to the impulse that generated it and at the same time easier to transmit to receivers. In many cases, the building of painting requires a higher high degree of enciphers for the message, going to a total abstraction as a desire to express an idea in essence.
Although rarely I watch the paintings that I painted in time, when this happens to me, I realize that each of them are always different, that each of them externalize another time, and also, each painting is a sentimental map, always changeable and uncertain, but essentially I recognize me in all of them, as a self-portrait in multiple poses, in a perpetual inner introspection, as in an act of autochirurgie, to a soul area hard to penetrate and sometimes impossible expressed otherwise than in colors.
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