Since the age of 25 I have painted in oil in a formal way. Each painting made has been planned and painted with the greatest care, each one has been meticulously revised from the previous sketches and some have been reviewed after being signed.

 

I do not like to improvise, not yet, and I do not like to think about doing "one more artwork in my repertoire". I want each painting to be a real step forward, whether in the technical or discursive aspects with respect to the previous ones. Do I always achieve it? The answer may seem presumptuous, but yes, each new painting contemplates a specific challenge that has been overcome; otherwise it will not remain, at least not in this artworks portfolio.

 

I still can not conceive to stay in just one pictorial style, or perhaps I have not been able to develop it, I will know. Although, those who see my paintings perceive a constant in the use of color and space, I have tried to do not remain where I feel

comfortable; Sometimes it seems that the subject matter requires a particular style. A piano? Sure, cubist. A Venus? Yes, with his body like the Venus de Bouguereau.

 

Here I consider it important to return to the point about everything that remains constant in my works because there is where we will glimpse what I will call the "caught style". In most of the paintings you can admire an almost total use of space, I have rarely left large areas of color clear and flat, the surface is always used even by the texture of the brushstroke. Regarding the color, it is evident that, although I vary from warm and relatively short palettes to brighter ones with winks to the primary colors, strong light contrasts are a constant that can be observed in the majority of the paintings, as well as nuances related to the yellow ocher, red and a series of greens and blues that appear almost as black.

 

My greatest interest is constantly found in the composition, foremost because it is what is shown more clearly when i imagine a piece and secondly, because I consider it the vital support of all artwork over color and discourse. Then, before starting each painting, I have in mind all those geometric shapes that have to contain the elements of the painting before I even know what objects or characters are going to be these elements. In this way, I have a general spatial structure that is sufficiently clear to maintain, throughout the entire pictorial process, the "creative blow" that, although it is usually temporarily ephemeral, structurally seals the birth of each work.

 

Those around me quickly notice two characteristics in me; firstly, that I usually resort to criticism, and that I like to oppose. And that must be true because I find a lot of it in my paintings but, to be honest, I do not put those thoughts as conscientiously as it seems. Pieces like The Clown, Piety, The woman who feels like a bird, The end of the world or the Maculate Venus (from the Homo ex machina series), are good examples of how I usually review, criticize or even parody, to very recurrent topics in the history of art. It is not that it pretends to be disruptive or give a deep message, as I said, I start my artworks thinking more about the form and then the color, than about "the poetic" or the message. But it is to sublimate my interests with respect to the mankind and its social contradictions at the time of giving meaning and being to the aforementioned compositional structure. I must say that if my artworks have these discursive characteristics it is above all because I admire the human being, hence my constant recurrence to traditional themes or authors so admired by me as Bouguereau, Vermeer, Courbet or Picasso. Criticism, I perceive, is a way of get attached to man and exploring him in the face of the beautiful complexity that this means for me. The painting is first of all a modest pretext with which I crumble its being and by extension mine, perhaps, it is not the art for that?

 

So far a little of what, as far as I can review, are my intentions as a painter. Facing the imposing of the pictorial possibilities and the infinite paths to take to carry out a good idea, for now I feel comfortable being hesitant between the styles that I pick up and the subjects that I handle.