What is the meaning of painting in it's more primary qualities? How come we never question ourselves about it's ingredients? There is a meaning to all the work related to colour. What fascinates me in painting, from a more primitive perspective, is a certain luminosity of colour, a shine, a certain matter labour, a certain technique.

My work is about colour. All the poetic spawns from it it. Colour can make on feel the temperature of the piece with ones entire body. It envelopes perception. Every painting has it's temperature. The chromatic tonalities I use are nor indiferent to the content of the work. If I use warm tones, like yellow ou red instead of cold ones like blue for example, the phisical sensation isn't the same. Painting doesn't involve just sight, it envelops all the senses through colour gradients. The colour pallete is the basis, the starting point. And, the process connects it to the result. The colou pallete establishes itself as the instruction book, as the recipe of the piece. painting is the transformation of this pallete. it's transformation, metamorphosis.

There's an entire book of recipes to obtain this or that colour. It is not immediate in it's conception. There is no immediacy in colour, or in gesture. there's all this calculus that comes to fruition as the painting is born. The language of painting is transformation, metamorphosis. The techniques I use are very diverse, and, are the consequence of of the processes and substances. The  choice of these substances is not indiferent to that wich is the figurative content of painting. Instead, they are part of the semantics of each work. I may choose oil pastel for a painting and not for another because it relates to the other elements in the work, and so, it belongs to the content of the painting itself. The Atelier is like a kitchen with ingredients, recipes and quantities. Where one needs to learn and reinforce competences. And pay attention to those that are the reactions of the substances and matters.

I am interested in substances and material behaviours in painting. I don't seperate between practice, the atelier and the semantics, the spirituality of painting. The idea of spirituality born out of the abstract expressionist movement, considered by Rothko or Pollock. A spirituality that emanates from the work itself.

In my work, metamorphosis is inscribed at the individual work level, as wel as in the evolution of the whole poetic. In retrospect, I understant that my work is not monotonous. I, continuously, change the techniques I use. Techniques that, nowadays, the new media have set aside in favour of more sophisticated techniques. However, the digital isn't able to restitute us with the feeling of live experience. They can't do it. The moment painting enters the digital logic, something is missing. In my opinion, it looses the feeling of live experience because it can't translate it.  There is a loss, a necrosis that needs to be considered.

There is an, inevitable, transformation from my work in illustration to painting. There is an evolution from a figurative language and organization that, frequently, derived from the perspective and the grid to a liberation of the grid and the coming to realization of a new organization. This new organization doesn't, completely, forget the grid. It is imprinted in the memory through the superposing of planes and the use of noisy meshes.

This leads me to believe that at any point of artistic production there is a semantics, a significance in terms of time. So, each piece carries the inscribed memory of the its past, of the techniques from the its past. Painting isn't still. The metamorphosis is inscribed at a timeline level. It only looks still. The fact that it has a chromatic composition in the background may lead to deciet. In reality, the suspended forms have an, implicit, sense of movement in the gestural inscription which they were made with. This sense of movement is also due to the fact that they are suspended and contraposed with the plain, more stable,  background as a sort of noise or matter condensation. The stability of the background is reached by simplifying the chromatic organization with little texture, in opposition to the movement of the suspended forms in the foreground. Some of these forms have body, they emmerge to perception. Some even invest towards the viewer. They don't just emmerge, the attract, pull the observer.

At the moment I start to difine the universe of my discourse, of my poetic through the singularity of my work, signature isn't required. There's a familiarity with the work through composition, as a mark. The painting signs itself. A dinamic, not static, mark.

In it's primary qualities, painting is the transformation of the pulverized metals and minerals, the mix with fluids that then become something fluid, a mix. A paste that transforms over time and that is applied by the artist in a certain organization.

But this is just the begining.