My work as an artist is nourished more by contexts than by the history of art.
It includes and is benefited by the influence of architectural thinking, something I acquired in my many years in that profession.
It was during the artistic practice itself that my investigation, appropriation, and development of different uses of paper consolidated it as my essential material.
Parallel to this conclusion, other fundamental aspects of my work appeared: the definition of the surface of the plane as an area completely open to intervention, as an arbitrary slice of a specific situation in which there is no background and figure; in which treating the surface with shredded paper and applying it on the plane in a controlled way gives it its pictorial appearance. I work on the idea of what is not visible, that which is so overwhelmingly present it turns invisible; what is beneath the surface, meaning by surface that membrane which allows us to go beyond appearance.
This is the point of departure of my work, which can manifest itself on the flat, even surfaces of canvases, directly on the wall itself, or at times appropriating space with interventions which attempt to resignify it.
My investigation on materiality has developed in parallel with the search for my own voice, my own way of saying something.