Throughout an heterogeneous body of works, my practice is based on the potential of painting’s social, material and historical bases. Art History, as an everchanging construction, provides me with multiple templates of old and new masters, to work with, manipulate, distort. Updating the repertoire of seen and known images that define the canons of tradition. I’m interested in making the familiar inscrutable, treating every subject with deadpan affectation. My paintings always reveal their artifice, with particular interest in the traces of abstract painting that simultaneously take on the challenge of the representational impulse. My current project, for example, takes on, simultaneously, two of the oldest tropes of visual art: self-portraiture and the contemplation of the female body.

But even in my previous ones, the viewer must always be able to harbor a discovery when faced by my works: artworks as objects –in the Decolonial Gift Shop series–, faces as abstractions –in the Galerie des Glaces exhibition–, and now, bodies as landscapes. I look for new outlets for painterly realism, questioning the conventions of figuration, social constructions of images and taste.

These last few years my gaze has become more defiant, abandoning timidity and circumlocution. I’ve been particularly focused on the impact of art’s conventions on the body, human and otherwise. The way power and institutionality attune the representations of ourselves and our context, in this late capitalism chapter and extreme individualism era, where identity has become the territory where the struggle of social value is waged. My work is a visceral exercise in self-knowledge that seeks to awaken sensory enjoyment in others through the physical properties of paint.