It is difficult to write something about my own work and, still more, knowing that the person who reads this one writing not knows me. For that reason I have believed advisable to begin by my thoughts or concepts on my painting to continue with the methods.

First of all I explain my necessity of communication by means of images that leave from real things and that vary according to my mental schemes. I believe that I and the painters in general, are not conscious in last instance of our forms of expression. These are been with time and are last consequence of a concept. A slow one to pass by my own life can be consequence of being clarifying ideas and finding new means. Like painter, I need means and those means are the expressive vehicle. I do not reduce the painting to the mental operation, although I consider it essential, I believe that with this she would be debilitated what is in himself the painting, I trust that uniting all this mental process to expressive means, receives more force the art.

The sensations are in the base of my work, I look for a synthesis between emotion and forms, this is, a species of synthesis of the vision. I paint with emotional answer in front of the reason, I like to investigate in the subjective thing that the imagination and over expression has. Attempt to express my emotion before the world with which encounter a pretext to sublimate but in which I support myself. I feel the passion to watch, to love and to retain emotionally the watched and the loved thing. It is a memory of the nature done not of arguments, but of dramatic jargon, an expressive memory. This attempt to give a plastic intensity obtained with the over all of the work, over all of the picture.

It is clear that I paint by necessity, eagerness of communication. My greater expressive necessity is looking for the deepest communication. When something excite me I handle it and I learn it, I story it often; it seems to me as if I were scared that I have not arrived, and it forces to me to begin again.

The fact to give the image of which we see, allows the artist to express all its personality, great or small. Study the nature, I make me an effort to apprehend its spirit, I attempt to express myself according to my personal temperament. The time and the reflections will be modifying me the vision little by little and in the end, I hope, I will reach the understanding.

The sensation caused by the contact with the nature is the base of my painting; but the knowledge of the methods to express it is not less important for me. I trust getting to weld the objective vision of the reality with the subjective knowledge of the same one. I need the natural one: I understand of “natural”, not the direct copy of itself but the communication of the nature with me, which she tells me, the motivations that raise to me.

With respect to the landscape, my painting is between the representation of the reality and the pure construction of volumes. The heavy, round, rough and smooth stones almost with tactile qualities. The seas and skies rare time are clean and blue and, when they are it seem to be facts of an impossible colour. They always have something of sadness and threaten. The anxious and brave sea but always in rest. Everything can happen in its immense contained force.

I do not have premeditated composition schemes, but consequences with the type of answer that I give a certain stimulus. Although it is inevitable that the schemes have something in common since they start from my relation stimulus-answer. The compositions appear articulated by the relief of the planes, clearly contrasted. I always trust to a geometric structure of horizontal, vertical and oblique lines. I have a great respect to the drawing, believe that it is constructor and distributing of spaces; from him the forms, sketches, rhythmic, etc. are derived. That differentiates the work of each painter.

When I put the colour in its site, the only thing that matters to me is to relate it to which is adding later and that the set is harmonic and clear transmitter of the first idea. In this matter of the colour is where I act with more feeling without following no established. I hold the colour in my pictures with reinforcements matter that support it, all it stops to obtain the constant that I persecute: expression. With the dense filling, with brush or spatula, I create greater intensity of colour and it confers a great sensation of volume. I use flat colours that simplify the form and have a great weakness by the violent chromatic contrasts. My search of the visual synthesis and, mainly between volume and space, I attempt it to solve by means of the light and the vibrations of colour.

I hope to have been able to express what for me is my work and my objectives before it, although perhaps, the plastic work itself says everything.