My true life is contained in my studio. There, oblivious to the external world, I transform my feelings into shapes and colours; I become intoxicated with the essence of oil, turpentine and other mixtures.
There I reflect and trace new aesthetic paths along which I shall walk: paths that stray from all things traditional. I try to free myself completely from the most artisan obstacles hindering my work, and thus carry out a task that is closer to the intellectual world. This gives me a great guilty conscience but at the same time, it opens up new highways of sensations and makes me question other types of discourses that are closer to the more traditional manuals of history.
New sensations that are part of a convulsed era, an era that searches for new languages, in which technique and technology will inexorably take us to borders that are currently unthinkable. One which will urge figurative artists, who do not want to be decontextualized and reduced to a local scope, to take this evolutionary train that will bring us closer to the international sphere.
An era which, even at the risk of making the division between the artists and the public even broader, is based on the feeling shared by many artists in different branches of art, all of whom search for new tools with which to express ourselves.
In my studio I prepare myself knowing that innovations will have to encounter resistance and that their acceptance will be another stage of this long journey that I have set off on. In this sense and with a maximum degree of modesty, I think my aesthetic language may seem aggressive, extravagant even, and I think that maybe contemplating my work may produce a certain optical confusion for the spectator; nonetheless, no one can say it is not part of my inner life, of my deepest convictions. I am sure that the public will know how to absorb its essence, allowing for the enjoyment of an experience entailing major emotional intensity.
In my universe, hyperrealistic assumptions are not oblivious to innovations and new pictorial trends. On the contrary. Although I maintain the traditional study of all things natural and drawing, I place it before, not only the appearance of characters, objects and landscapes, but also before their conceptual reality, thus creating the adagio that “nothing is less like what is real than reality itself.” In this sense I feel like I am working aside from the avant-garde and the rearguard and that I am only working for progress and for the holy truth of existence.
More than sight or thoughts I need a soul to share and to be aware, in order to understand what occurs behind my studio door. Reconstructing artifacts using a process that works from the inside to the outside, that makes me paint even the inside of devices that will never be seen, leads me to a concept of reality as excess, setting up a visual mechanism of things and the intrinsic knowledge we have of them. This is the way I approach a world that is more objective and separate from time and space, and is therefore impossible.
The virtuosity and asepsis of the technique are simply elements in the type of language I use, and should be given no greater importance than the work’s actual syntax.
The distressing human references and my rebellion against all things established and against the political power have left me aside from the “avant-garde” – “rearguard” dialectics and made me swim against the tide, thus suffering the feeling of dying every day in this process of pictorial execution.