I develop within the framework of painting from series with narrative themes but with a high emotional charge. The relationship between this and the material density enhances the thickness of a situation, a character or a relationship (see series “The Combat of the Century” and “The Court”. 

In my series “The Painted Truths” I am a witness to the existence of the latter man on earth. The objects that surround him and complete his description and imagination include his memories on earth, his deepest desires and fears; he is imprisoned by hallucinations, mirages and visions of transitory, non-existent, inexplicable events. matter becomes light. 

I am not interested in the survival narrative, but once again in delving into its emotionality, the absorbed of the moment where it is not thought observed (of course, it is the last man). 

I paint from an initial impulse which comes from an abstract notion, but which inevitably leads me to narrative information, even if it is only cause and effect.

I am interested in developing a series about characters in grotesque situations, as a way to sublimate the weight of classic portraits in the history of art. My bond with painting is increasingly fresh, light and empathetic. 

The characters have a particular relationship with the objects that surround them that are not innocuous, rather the axis of a gestural shift. In principle, nothing fits with the idea of a portrait. 

The situations are everyday intercepted by sensations and gestures that “ridicule” the protagonist if he saw himself. All so common but so little assumed. In an over-aestheticized world where gestures are pre-set for the selfie, my approach seeks the permission of the ridiculous, the dismantling of appearance. I stand on the antipodes of current communication to speak of the humanity of the human.

I rely on an expressive work not only in terms of the imprint as a gesture, but also in the gestures of the characters themselves. A false corner, an off-center eyebrow, an asymmetrical lip tell a story of a moment far from perfect that is assumed to be true, more than any imposition.