My work in Illustration is characterized by the inversion of the creative process. I start my work without a text in mind. The image already exists prior to any text filliation. This process enables me to have total creative freedom. The process of linking an image to a text is always a reflexion on the most basic elements of the theme given by the text, how to propitiate a subconscious and emotional connection between the text and the image and  how to make this connection express a spiritual, inconscious and primary interpretation of the theme.

 

I draw inspiration from several sources, oftentimes from photography and videograms of homo-erotic and/or pornographic content, mainly from 1970s and 80s publications and productions, a period notorious for the sexual revolution and as moving away from the classic physique publications that used to be sold wraped in paper bags as anatomic model studies for artists. In my opinion, these images don't have to conform to verbal thought or to optic facts. My question is centered on the possibility of these images supporting an emotional truth.

 

My strategy is to use colour, the abstract expression of colour as the first impact. The figures are fractured, cut, altered, painted and, oftentimes,  printed with xylene. These figures are, again, reorganized and materialized as new shapes. Conceptually, more complex and richer in content, they become more provocative. Pieces such as “Entre Pólos” or “Crux”, and, “Inside Looking Out” published by Três Três magazine, show a much broader illustration in terms of content, concept and theme.

 

My scope is, always, that of creating images that may contain significance in terms of emotion. The most important step is the transfer of the image to paper as it emmerges in me. Without distraction. To modify it would be to forge it. I accept it as is.