My work is based on a type of painting that renounces representation, ceases to be a narrative vehicle, and becomes pure presence.

 

Starting from the reductive and monochromatic possibilities of painting, each surface opens a field of chromatic experimentation: variations of tone between layers, glazes and marks that reveal the history of a process that is diluted between structure and emotion, analysis and intuition.

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Through the accumulation of oils, waxes, earths, and mineral pigments, a surface emerges that does not emit stimuli but absorbs them, softening the visual noise of its surroundings. This material silence calls for an experience prior to language, where the work does not impose itself but demands time, waiting, and an almost tactile attention. The process thus becomes an intimate and atavistic ritual, a space of resistance against spectacle and the excess of contemporary information.

 

The work is not a reproducible image but a body that occupies space according to its own logic. In contrast to the immateriality of the virtual and the obsolescence of the immediate, my painting insists on what cannot be compressed into a screen: thickness, trace, and gravity. Each gesture and each layer of matter do not annul the previous ones but contain them; time is not erased, it accumulates. 

 

This way of working is not only a formal position but also an ethical one. To work through slowness and repetition is a commitment to a non-productive temporality. The work does not exhaust itself in a quick glance but sustains itself in lived experience, proposing a space of stillness where painting regains its capacity to be, to exist, and to endure.