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, I continue looking for enhance it with more artificial character references; I’m interested from the roughness of the cement, to the labyrinthine pattern of a printed circuit. To achieve this I introduce lines and geometric shapes, with matte and opaque material, often applied evenly using airbrushes or industrial processes like rollers. This through a constant transformation process where these elements are combined with other more immediate and organic which, through chromatic integration, are also trapped in the same oppressive space. My goal is that from this alternation between techniques, form and matter, creating a rhythm of confrontation suitable to the dystopian sense that moves me to make this 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.
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.
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…