The permanence of form

Alongside painting, I develop digital studies that function as a visual investigation laboratory. In them, I experiment with relationships between color, silence, repetition, atmosphere, and space before these issues return to the pictorial material. These images do not replace painting. They expand its possibilities for thought.

My production is not organized by techniques, but by questions. Each series represents a stage in this continuous investigation, where painting, collage, and digital processes dialogue as different languages ​​of the same research.

More than producing images, my research investigates the processes of construction, transformation, and permanence of painting. Each work is born from the superimposition of layers, the incorporation of traces, and the coexistence of different times in the image, revealing painting as a continuous space of memory and reinvention.

Today my painting accepts incompleteness as part of its language. Interrupted forms, partially hidden elements, and structures that refuse a definitive conclusion do not represent absence, but permanence. I am interested in that which continues to exist even when it can no longer be seen in its entirety. It is in this territory—between memory, matter, and perception—that my research finds its continuity.

For over three decades, my painting has been a continuous exercise in observation. Not of external reality, but of the invisible structures that organize perception. From my earliest works, flowers, circles, geometries, and ornamental elements have emerged as a recurring vocabulary. Over time, I understood that they were never the true subject of my work. They were merely the path.

Today, my research investigates the permanence of form.

Not every form needs to remain whole to continue existing.

I am interested in the instant when an image ceases to represent an object and begins to exist as memory, rhythm, vestige, and presence. I work to understand how a form continues to live even when part of it disappears, is interrupted, or dissolves under new layers of matter.

Painting has become a territory of construction and erasure. Glazes, collages, scrapings, transparencies, gestures, and overlays coexist with rigorous geometric structures and recurring organic elements. I do not seek balance between order and chaos; I seek to understand how both can coexist on the same surface.