Fascicles
This series is an investigation to discover new forms with somewhat opposed elements, in this case pastel and oil.
The base element is linear, curved and crisscrossed. It moves within an illuminated fantasy background, fantasy created on the basis of the element itself. In this case, it is the element that creates its own world around it and this external world is, in the first works, simple, but in the following, the external world of the linear element is complicated until its own explosion and fall towards nothing implausible, image of the last two works. For this reason, this series must be viewed in an evolutionary way.
Windows
Imagination, figuration, composition and relief make up the “WINDOWS” series. The series has only two works, and it configures a return to the principles of the series “HEAVENS”. Reflect the windows to the sky playing with different textures and reliefs. It is a return to the “pseudo-figurative abstraction”. That is, abstraction with a more or less apparent motive. The windows are irregular, purely imaginative. In addition, they are very limited, meaning that what is important is external vision, what is close is less important.
However, to give concreteness to the window it was painted as a more solid structure.
Infinite Universes
It is the plastic expression of the infinity of the universe, forming simple and complex structures that materialize the absence of nothing within the universe itself. The idea of plastically reflecting the concept of the infinite universe is what led me to make this series. We start from the idea of an infinite universe made up of infinite galaxies. In the evolution of the works that make up the series, we observe that the basic matrix of the universe changes its color. It is about capturing the initial color of a preconceived idea. We think of the universe with a certain shape or color, this preconceived idea, of initial prejudice, in the series is transformed with the intention that the viewer participates in the thought of the own ignorance of the universe itself.
Broken Walls
That search for the ideal, trying to eliminate what we see, led me directly to create the BROKEN WALLS series, in which we reject the real, we break it, we do not accept it. I use a different technique with new materials. He needed to express the concept of breakup and had to break away from some of the previously used techniques.
Through all this evolution, I have discovered paths that I did not imagine when I started this journey, understanding that the expression of feeling is fundamental in a work.
I have tried not to dictate to the viewer a certain image, not to force them to see something specific, but, on the contrary, to let their mind travel through the world of feeling and their eyes feel what they are seeing.
That has been the goal. Create a painting of “free thought” not subject to the iron dictatorship of reality. The path from this point on is tough and tough.
Absent Landscapes
Little by little, almost involuntarily, the series “Imaginative Figuration” was transformed into “ABSENT LANDSCAPES”. The decomposition of color and shape is the most sensitive feature. I intended to carry out a totally voluntary disintegration of the form. It is about decomposing the idea of landscape to the most radical extreme, in order to achieve its total absence. In the very vision of the paintings, this disintegration of the landscape is evidenced, which inevitably leads us to a disintegration of reality.
It is the reflection of the struggle between what is perceived as real and what is perceived as meaning. That struggle which is also a reflection of the individual’s own struggle, of what he wishes as an ideal (the felt) and of what he objectively observes and perceives (the real). In that terrible daily struggle and, as a poetic reflection in the entire series, the triumph is always carried by what is felt against the disenchantment of the real, of the perceived.
Imaginative Figuration
Searching for and experimenting with different materials, I felt the need to reflect a more palpable, more concrete reality and this is how this series was born, which represents a challenge to my own painting since, in a totally conscious way, I went to the dark side of figuration. But, and how could it be otherwise, spontaneously, the figuration was transformed into what I call a pseudo-figurative abstraction. The works that make up this series try to create an energetic imprint on the viewer that leads him to a certain state of dreamlike memory.
Polychrome structures
Abstraction in the purest sense. Almost unique colors to reflect a changing reality. A reality that sets the viewer free in their visual and sensitive experience. This series is made in what I call “horizontal execution” of the work itself, which basically consists of the creation on the canvas in a horizontal position, even on the ground. It is about allowing me to handle the work from all sides of the canvas itself.
The works that make up the series are quite uniform. However, in the very evolution of the series we appreciate how the black lines are gaining prominence, inspired by the idea that the shape of the line comes to supplant the very background of the canvas.
Initial Structures
The decomposition of color and form is the most sensitive feature of this series, with a clear objective of voluntary disintegration of the deepest imagination.
In “Aerial Color Explosion” the shapes appear on a lower plane to form on their ascent. In the rest of the works in this series, basically the same process occurs. That is to say, the forms are born on a lower plane and develop as they ascend. In the last work of the series, the forms are already in a higher plane and simply are by themselves.
Geometric Structures
They are the concretion of a diffuse geometry hidden but incorporated in the general form of a work, which seeks a purely intellectual combination in the viewer.
Geometry, in this series, is part of the so-called “dynamic abstraction” in which the different geometric figures are chained towards a superior structure, forming a form-line set. The initial blue background of the first work in the series, soft in color and shape, gradually mutates into a black background that suggests the different profiles of the viewer.
Tree Structures
In this series, the figuration is deformed to the minimum limit and, in the very structure of the work, the figure seeks as the branches of a plant looking towards the sun do, its own light in a universe full of alien limits.
From that state, my work seeks what certain experts call “intellectualism”, that is, to consider the work of art as a product of knowledge derived from the action of the senses, or what is the same, the creation of through their own experience, that piece of colored soul that each author possesses. In reality, I am looking for that “hidden realism” in which the concept of the real is transformed into the concept of the felt.
