The sense of my work is portrayed through a continuous dialogue woven between memory and space, in a dimension of quantum uncertainty. The themes take their roots from autobiographic events, manipulating disconnected memories and juvenile fears, delineated in the figures of fragmented human beings, to evocate the falsehoods that lie within vague memories. The whole picture swings between our feeling of inadequacy and the obsessive fear of a common destiny to which we are all voted. Purposely abstracted from their own context, the subjects reminding us of suspended dialogue with the present day. As with all my work, the observer is invited to create his own feelings, freely and independently, inside the white portion; the absent space. For this purpose the painted portion creates disorder of thought, with unstructured figures and disorientated signs. Transparency and overlapping creates simultaneous visions which move the observer away from the crux of the action: reminding us that nothing could be real or definitive, as everything passes through our own personal filters which re-elaborate and multiply their significances to us.
Identity is the way we perceive and express ourselves. Factors and conditions that an individual is born with—such as ethnic heritage, sex, or one’s body—often play a role in defining one’s identity. However, many aspects of a person’s identity change throughout his or her life. People’s experiences can alter how they see themselves or are perceived by others. Conversely, their identities also influence the decisions they make: Individuals choose their friends, adopt certain fashions, and align themselves with political beliefs based on their identities. I usually use my works to express, explore, and question ideas about identity and memory.
Another important aspect in my work is the space, both mental and physical. We all live in a three dimensional world of depth. As we look around, we can tell that some objects seem close where others appear further away. Space is the illusion of distance on a two dimensional surface such as a canvas, board or a sheet of paper. My paintings are predicated on a distinction between illustrated space and abstract, pictorial space. The former is mimetic and referential; the latter transformative, and thoroughly embodied by pictorial dynamics. The nature of the constriction I’m striving to overcome is innate to the medium, and is emphasized the more formalistic and the less representational the idiom. In all the ways that it alludes to a world beyond its materiality, painting is indirectly fictive, rather than directly causal like photography. It is always a form of interpretation rather than evidence, except as it constitutes a causal trace of gesture and touch. Formalistic abstraction, which does not strive to reach out, even in this indirect sense, to a represented subject – and, by doing so, to claim the space it might inhabit – is the most self-referential of painterly forms.
Travels around the world, photographs taken and found, sketches and visual notes constantly enrich my research. On the surface, travel and art seem like perfect partners. The rush of being somewhere new, the strangeness of everything, that sense of losing yourself, of re-creating yourself – all good fuel for creative fires. It’s really important to me to take my art ‘out of the studio’ and into the real world. Travelling, for me, is same important as reading books. Travel gives me time to think, ideate, observe and learn new things – culture, food, history. It also gives a lot of time to introspect and understand on how certain things are done around the world. Inspiration to create new works, live better, or perhaps, happy to be living a better life and giving back to those in need. Travelling stimulates a person’s resourcefulness to tide over unforeseen troubles and it connects us to other cultures and people.
The sense of my work is portrayed through a continuous dialogue woven between memory and space, in a dimension of quantum uncertainty. The themes take their roots from autobiographic events, manipulating disconnected memories and juvenile fears, delineated in the figures of fragmented human beings, to evocate the falsehoods that lie within vague memories. The whole picture swings between our feeling of inadequacy and the obsessive fear of a common destiny to which we are all voted. Purposely abstracted from their own context, the subjects reminding us of suspended dialogue with the present day. As with all my work, the observer is invited to create his own feelings, freely and independently, inside the white portion; the absent space. For this purpose the painted portion creates disorder of thought, with unstructured figures and disorientated signs. Transparency and overlapping creates simultaneous visions which move the observer away from the crux of the action: reminding us that nothing could be real or definitive, as everything passes through our own personal filters which re-elaborate and multiply their significances to us.
Identity is the way we perceive and express ourselves. Factors and conditions that an individual is born with—such as ethnic heritage, sex, or one’s body—often play a role in defining one’s identity. However, many aspects of a person’s identity change throughout his or her life. People’s experiences can alter how they see themselves or are perceived by others. Conversely, their identities also influence the decisions they make: Individuals choose their friends, adopt certain fashions, and align themselves with political beliefs based on their identities. I usually use my works to express, explore, and question ideas about identity and memory.
Another important aspect in my work is the space, both mental and physical. We all live in a three dimensional world of depth. As we look around, we can tell that some objects seem close where others appear further away. Space is the illusion of distance on a two dimensional surface such as a canvas, board or a sheet of paper. My paintings are predicated on a distinction between illustrated space and abstract, pictorial space. The former is mimetic and referential; the latter transformative, and thoroughly embodied by pictorial dynamics. The nature of the constriction I’m striving to overcome is innate to the medium, and is emphasized the more formalistic and the less representational the idiom. In all the ways that it alludes to a world beyond its materiality, painting is indirectly fictive, rather than directly causal like photography. It is always a form of interpretation rather than evidence, except as it constitutes a causal trace of gesture and touch. Formalistic abstraction, which does not strive to reach out, even in this indirect sense, to a represented subject – and, by doing so, to claim the space it might inhabit – is the most self-referential of painterly forms.
Travels around the world, photographs taken and found, sketches and visual notes constantly enrich my research. On the surface, travel and art seem like perfect partners. The rush of being somewhere new, the strangeness of everything, that sense of losing yourself, of re-creating yourself – all good fuel for creative fires. It’s really important to me to take my art ‘out of the studio’ and into the real world. Travelling, for me, is same important as reading books. Travel gives me time to think, ideate, observe and learn new things – culture, food, history. It also gives a lot of time to introspect and understand on how certain things are done around the world. Inspiration to create new works, live better, or perhaps, happy to be living a better life and giving back to those in need. Travelling stimulates a person’s resourcefulness to tide over unforeseen troubles and it connects us to other cultures and people.