If we had to describe how ideas appear in the artist's mind it would be impossible, maybe that's why we paint them and we don’t write about them. However, we can talk about the process and the outcome.
The justification for figurative paintings has been problematic in the twentieth century due to the appearance of photography. Nevertheless, it seems that it is no longer an issue.
Now I find myself working on a series of paintings that are linked to current European figurative art. I’m presenting this as a project. Some of the paintings acquire slight surreal resonance with illogical elements; others however portray characters in a cold environment.
I never really sketch. I come up with an idea from my photographs which can be modified during the process. In this evolution matter, expression and chromatic and compositional aspects come into play. If I don’t reflect this tension in the final result it is certainly means failure.
In my paintings we can find cinematographic shots where it seems like something is going to happen, portraits in which children (loved ones) are daydreaming and a bullfighting legend who is oblivious to tragedy. I have found sparrows to be a metaphor, a dynamic element facing the static human figure, without which I cannot conceive my paintings.
