• OVER-L series

    OVER-C series

    In the C OVER-C series I explore the synergy produced by combining elements formally opposed. I use different creative processes for each type boosting, even more, their differences. However, although forcing them to coexist in tight spaces, almost claustrophobics, I'm fascinated by the challenge of solving with coherence the tension generated between them.
    OVER-M

G17

Acrylic on canvas. 27x22 cm

G16

Acrylic on canvas. 27x22 cm

G1

Acrylic on canvas 27x22 cm

G4

Acrylic on canvas 27x22 cm

G5

Acrylic on canvas 27x22 cm

G11

Acrylic on canvas 27x22 cm

G12

Acrylic on canvas 27x22 cm

G13

Acrylic on canvas 27x22 cm

G14

Acrylic on canvas, 27x22 cm

G15

Acrylic on canvas 27x22 cm

G6

Acrylic on canvas. 24x30 cm

G9

Acrylic on lnen. 24x50 cm

OVER-L series

When I paint I am caught. I dive into the large format canvas for weeks or months. Sometimes I start sketching lines, sometimes I get close and concentrate on the section in front of me. It is a successive alteration of the scale factor that allows me to create multiple readings: next and immersive; and a global and coherent. This process, combined with my tendency to complexity, moves me to create, combine and transform elements constantly. I do it taking the color as a reference point and integrating it through abstract forms; can be patterns, simple geometries, voluminous formations or even natural reference ideograms. I impose no restrictions on myself. I am guided by intuition. When I find an element suggestive, I turn it into a resource and add it to a common glossary which grows as the series progresses. The work ends when I feel is almost fully saturated, creating a dynamic, complex and colorful composition. Then I feel madly attracted.

OVER-C series

In the C OVER-C series I explore the synergy produced by combining elements formally opposed. I use different creative processes for each type boosting, even more, their differences. However, although forcing them to coexist in tight spaces, almost claustrophobics, I'm fascinated by the challenge of solving with coherence the tension generated between them.

OVER-M

I started over-M in 2011 with some small studies almost lacking of color saturation. Soon I realized that, just with this change, works conceptually moved into darker and artificial territories. Without losing my interest in movement and large formats…