In my work I am concerned with the development and fusion of figural elements to achieve an expressive interplay between aspects of representation and my plastic vocabulary. I work between image and surface, using contrasting gestures to create tension between representation and the material’s color and tactile qualities

  The human figure, imaginary space and the landscape take turns at the focus of my attention, vehicles of not only formal concerns but also psychological and philosophical problems. The result of this tension - explicit versus implicit, meaning versus information, physical versus psychological - bring together ambiguous and conflicting intentions.

I approach the human body as both an aesthetic, ductile entity as well as an intimate site to recall memories and visions of the way I understand reality. The history of human representation is overwhelming if we are thinking of the complexity of each approach of the past. Human body is not only one example of the most complex source of inspiration, but a recipient for a plastic substance which changes through ages influenced by a renewed way of understanding reality and a renewed sensitivity.

  For me the human body is that substance which exchanges parts of its inner composition with the whole environment in an alchemical game of giving and taking. The human body is a recipient of a primordial fluid that has an entropic property. This fluid that is above form, substance, space and time, is an original matrix my paintings are based on. I am the catalyst of this process. My personal experiences, doubled by my sensitivity, are combustions that animate the process.

  From a formal point of view the human body is not de-formed rather than re-formed by intellect and aesthetic emotions. The anatomy and the language of the body open a way to a specific artistic vocabulary of signs which rather evoke than imitate the human outward appearance. My figures turn into corpses in an apparent stage of physical decay. There is no trace of life, only rusty earth tones flickering, surrounding the shape like a dark aura around the body. This language has the dimension of an uncanny universe set totally apart; it gains its sovereignty in front of the perceivable world. 

  Each element of my imaginary space has a meaning and metaphorically becomes an important chapter in the whole theatrical narrative. The ironical presence of “putti”, the Italian Renaissance small angels, becomes metaphor for the dialectic of matter and spirit. The shell, with its labyrinthine spiral chambers, becomes an “initiatic” totem. Mythical creatures, grotesque enlarged faces, deep overviews of imaginary, yet somehow real cityscapes, are echoes of things I might have never seen but help me ask questions with no answers.

   The development of my ideas emerges from the images I see and dream. I don’t make any extended preparations for my paintings. Usually, an image of a certain pose, an evocative gesture or a simple object can be the origin of a complex idea. The images I envision are growing in me. These larvae stage images I envision are growing most often directly on canvas while I am working. The first approach is chaotically undefined, where things are suggested and implied. The more I keep this intimate dialogue with the image I envision the more depth I get in the substance I am working with.

  This evolution of the image is fascinating. It is a pulse of constructing and deconstructing the image towards that final point where each piece of this subtle organic mechanism is about to function properly. As a consequence of this struggle to grasp the shapeless idea, the figures are tearing apart. There are intermediary states of the work where the space is detonated, and nothing seems to make sense anymore. But the original idea is still there, impatiently waiting to be revealed. This is the contrapuntal energy, the “axis mundi”, the “Ur matter” of my composition which stubbornly and desperately recalls the idea of balance and order.

   What do I get after all of this? …An image in which different layers of visual information and meanings which are juxtaposed, over-posed, stratified, intersected, and drawn in by aesthetical intuition. In this alchemical game of revealing and hiding, composing and decomposing, the formal discontinuity meets the content discontinuity empowering the image to get a plurality of senses.