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I have always been connected to the invisible and visible aspects of human drama, the particular and the universal. Although my paintings and sculptures are my own work, they are not intended to be about me. The subject matter is greater than me as an individual. My studio is like a lab, where space, form and meaning intertwine, shaping and filling my artworks.I have been exploring the Japanese concept “Ma” (間), a concept embedded in our relationship with our space, internal and external, and how we relate one to another one; as well as the interpretation of time and space, pauses and silences, and the emptiness in a space, full of possibilities. This concept MA is the skeleton of my works, where my art starts. These sculptures, mixed media and paintings emerge from a thought, an infinite path with no endpoint, where resolution is impossible. Hope in the light of loss and displacement is my primary subject. The works are fragments of what has been lost, negated, and postponed. Their structures are a form of reparation, a healing tool, tying together absences and presences, sometimes in a meditative form.
In some of my sculptures, I incorporate resin, because of its reflective or opaque property, but I transform it, leaving my own fingerprints, and colors are mainly a tool that reveals presence. In certain works, the observer can see the ghostly effect generated by the reflection created by the mixed media illustrating the transient and mercurial nature of reality. Upon seeing my art, many find that the colors draw their attention before anything else. The story behind these colors is born in the interplay between these colors, but it is not color itself that matters most to me. Rather, the color is secondary, the whole composition makes the work… Colors and shapes are not separated elements, both are an essential symbiosis. When I make an artwork that contains individual pieces, it is always thinking that each piece must belong to the next artwork, creating a work, where all the pieces share the same space; the togetherness is what makes the work.
My work has been evolving and changing every year, incorporating new media and materials. Sculpture and mixed media has helped me to grow, and it gives me the chance to explore pieces rooted in the human condition, past and present social and historic events. In the WWII pieces, for example, the research in getting the letters from WWII has been a long road, it almost took me two years until I started to work.
The base of my art is bringing presence through absence. There are different types of absences: not only physical absence, but also the lack of the fabric that could make us better human beings. All these have created the need to incorporate other elements, according to the sensibility of each piece, like the use of wood, fabric, metal, yarn and paper, besides oil, silicone, etc. I enjoy immensely the closeness with my materials, that intimacy…the tactile and physical connection, too, aids to create a deep connection with space, form and meaning, leaving all decorative items aside, and helps me to concentrate more in exploration, questioning and contemplation. I see the reflections, materials and surfaces as healing presences, making the invisible visible.