My journey towards abstraction has been made gradually. Until the year 2000 my pictorial research was figurative. I made variations of a single theme, some chairs, then I realized that it was not really the subject that interested me, but the space, the light, and the structure that inhabited the surface of the canvas.
The technique used is the result of several years of experimentation with various resins as binders. I currently use a mixture of marble powder and pigments, which are agglutinated with acrylic resins. Once mixed, I pour the paint on the canvas lying on the floor and paint with brooms and broad brushes. I usually paint several layers, like “arrepentimentos”.
For my most recent research I incorporate metal surfaces, like collages, which allow me to highlight the painted part and gives it a certain solemnity. I reduce the visual information to amplify its mysticity and give it more strength and timelessness.
My works are meditated. Although the result gives a feeling of great freedom in my way of painting, everything is thought in advance. It is true that, once the parameters of my surface defined, I let myself be carried away in a comfortable musicality of notes that define a harmonic set, or at least that is my purpose.
If the universe creates all we see, it also creates us humans who are not in harmony with our surrounding, we change what we see in an unnatural way. Human thought is societal, it confronts instead of embrace its home via structured forms of adaptation that are fueled by fear of death, of the unknowned. This anacronism is, I think, part of nature, even its destructiveness is natural. While I paint I often feel that I am in confrontation between my instinctiveness and my formal though.