I define myself as a «mural artist», my projects have an expositive objective, which more than telling a story focuses to establish a dialogue with the public. Necessary because it allows me not only to have a conversation with and in front of the work, but also for the work to develop as a complete idea. I always work with numbered series, generally presented in diptychs or even poly diptychs, as if they were fragments of scenes. The scenes are not unfinished, nor random, although they sometimes come close to abstraction in the search for their transcendence and psychological weight.
I always use analogical supports, it is through them that I have found the corporality of a language of my own. It is thanks to this organic support that I project my work for its mural staging. I take part in the entire creative process, covering all aspects of production and post-production: from shooting to assembly, to printing to editing. Furthermore, through interventions on the work, through manipulations with collage, painting, graffiti, or complementary video or slide projections during the exhibition, I evoke another dimension in the fixed image.
Like windows, my works seek to create a climate of transition in which the viewer can establish a dialogue, find a space to project himself or even get lost.
In my work, there are three main lines of discourse: Body, Truth, and Time. Where the words: Pain, Love and Death draw a dynamic in crescendo that is inevitably tragic and complicated.
Influenced by impressionist photography and poetic realism, my main subjects are the body and its absence. My bodies are sometimes suggested, but they are not evasive. Sometimes, however, they are self-portraits as a profound exercise of analysis in the form of prosopography. My spaces without bodies are spaces that speak of these bodies, and of their intimacy, as places of memory without necessarily being emotional, just forms of permanence without a specific duration. In these places that no longer exist, time is confused, and the narratives of the past come to a halt.
My imaginary and the images that draw it, are composed of great contrasts, bright white lights and deep blacks. Greys and halftones do not exist. Black and white recall the organic side of the materials I use, giving it texture and physicality. Place and space. In my scenarios, the light is epic and brilliant and the shadows are unfathomable and intense. A psychological moment where everything comes out of the shadows. It is in this abstraction that I identify myself and my entire narrative.