On painting,
silence and matter
My work is born from the tension between what is seen and what is felt. I work with layers — physical and emotional — that accumulate and erase, creating surfaces where time is suspended. Colour, more than form, is my language.
I am drawn to the threshold: that liminal space where certainties dissolve and the image has not yet decided what it wants to be. Ahí reside, for me, what is truly pictorial.
The surface of a painting is not neutral. It carries history — of gesture, of revision, of doubt. Each layer is a decision and a cancellation. I work in long durations, returning to the same piece over weeks, months, sometimes years, until I can no longer distinguish what was intended from what happened.
Travel has been essential to my practice — Morocco, France, Spain, Italy, Belgium. Each place deposits something in the work: a quality of light, a texture, a relationship between colour and memory. The work is not autobiographical in any literal sense, but it is saturated with place and time.
I am interested in what cannot be planned. In the moment the painting begins to resist, to have its own logic. That is when the most interesting things happen.