1- PARABLES OF REFUGE 2013-2014
LANGUAGES AND CONVERSATIONS AMONG OTHERS
Over time, the practice moves toward a progressive synthesis, guided less by a fully defined intention than by an attraction to the possibility of generating movement through the minimal gesture: reducing pictorial action to its threshold—a point, a line—as sufficient devices. Beginning from the gesture, a shift takes place: a lesser commitment to representation and a deeper engagement with action, with a mental attitude open to new pathways and perceptual experimentation.
Shelters of an Obsession: Oil on canvas 150 x 175 cm, 2013
Within this process, the earlier corporeality—articulated through wind, matter, and light in the vegetal realm—condenses into a more essential formulation. Painting starts to operate from this reduction, where movement is no longer described but activated through minimal structures. At the same time, an awareness emerges that movement does not belong exclusively to the body: it can also unfold within thought, where the mind configures its own displacements and enables other modes of perception.
Shelters of an Obsession: Oil on canvas 150 x 150 cm, 2014.
In this transition, not yet fully conscious, the gaze is drawn to what resides within the process itself: a subtle visual and sonic shimmering, a vibration that takes place in the very act of perceiving. It is here that reading becomes integrated as a field of expansion, adding itself to the process as another layer of experience, thought, and knowledge.
Shelters of an Obsession: Oil on canvas 130 x 130 cm. 2014.
2- TENSIONS 2014-2015
LAYERS, THRESHOLDS, AND SPACES OF REFUGE
At this point, a different mode of access to painting emerges: one that no longer operates through gesture, but through a shift in the perceptual regime. The work moves away from a solely visible reality and begins to engage with other realities—ones that are not directly perceptible, yet operate with the same naturalness as what we understand as nature itself.
Tension: Acrylic on Canva. 60 x 60cm. 2014.
Within this displacement, painting expands—not in terms of scale, but in depth. This is where the series Tensions takes form: a body of work structured through layers that do not simply accumulate as formal strata, but function as spaces of refuge. These layers penetrate inward, activating a dimension that is no longer frontal, but immersive.
The canvas ceases to be a surface and becomes a threshold, a kind of permeable membrane. Painting no longer situates itself in front of the viewer, but unfolds within: within the format, within the pictorial window, within a mental space where perception is reconfigured.
In this act of “entering,” another beginning is articulated. Not so much a new language, but a new way of inhabiting painting—through interiority, stratification, and a sustained tension between the visible and that which, while remaining unseen, underlies and activates the experience.
TENSION: Acrylic on Canva. 60 x 60cm. 2014.
Layers: Acrylic on Canva. 60 x 60cm. 2015.
3- WIRELESS CONNECTIONS 2015-2016
Píxel
Following the Layers or Tensions phase, the work shifts toward a new field of inquiry in which painting begins to enter into dialogue with the contemporary technological imaginary. This turn can be situated around 2015, when screens—particularly those of mobile devices—become consolidated as a new perceptual condition. The surface is no longer understood solely as an opaque support, but opens toward a luminous, reticular, and vibratory logic, where the image is not only reflected, but emitted.
CI Acrylic on wood. 80 x 80 cm. 2015.
Within this context, a quotidian gesture—attempting to photograph a computer screen with a mobile phone—reveals an unexpected interference: a moving mesh, a kind of visual “water,” generated by the interaction of light between both screens. This unstable, fluctuating vibration immediately recalls the movement of a wheat field stirred by the wind, establishing a direct connection between a technological phenomenon and the memory of the natural.
At this point, the physical and the virtual begin to overlap, and painting finds a new threshold of relation. The image no longer belongs to a single order, but situates itself in an intermediate space where materiality and digital light share the same pulse.
At the same time, and as part of this evolution, a form of awareness emerges. After years of sustained searching—of making without fully knowing what was being sought—this encounter becomes a moment of recognition. It does not mark a rupture, but rather a becoming-conscious of the process itself: making and searching acquire clarity, and the work begins to articulate its direction from within this awareness.
A new phase thus unfolds, in which painting, rather than opposing the digital, incorporates it as a field of tension—exploring its structures, rhythms, and modes of appearance, while deepening its own material and perceptual condition.
CI: Acrylic on wood: 90 x 90 cm. 2015
Detail.
