My work is a tautological investigation on painting. I started it while reflecting on the representation and simulation of reality, transforming the pictorical realm with the strategies of camuflage. Here, painting is not part of the context, but it's rather created as the support and is mediated by the interlocutor â the observer. The painting moves seducing the canvas and, as it advances, it copies itself in a mimetic manner and it represents itself as if it were a reflection. The mirror reproduces in a game of viewing, pretending to see itself but being someone else; a subtle vail that faces its condition of mask, guiding us towards reality....or maybe not.
Through this investigation I have found different surroundings: from fabrics with given patterns, to tapistries, papers and woods. All of them have relinquished to me their condition and I have established with them a dialogue. The painting, loyal to its author, creates new strategies as it progresses and it developes through roads that intersect with each other and deliniate new trails. Its discourse moves forward with the âIâ being âthe other.â When I intervene without hiding the fabric's pattern, I develope an equilibrium that creates the ilusion of what is and what was, thus producing a space of ambiguity of forms, where the designs become riddles. It's a space open to interepretation that makes one believe that what exists is what we see, but there is something more which is intangible, it is hidden, or it stands in the middle, in its proper place.
The purpose of my work is to create the appearance of a suspended space: a hiding place for my intervention, where the given pattern is presend but it does not dominate, so that it can provoke confusion in the observer.
Simulation, alteration, similarity and diference are concepts always present in my pictorical positing. Disguise and camouflage impregnate the fabric and submerge themselves in the eyes of the observer, projecting images that distract the the act of observation into the interior of the painting.