Statement

La obra es una exploración estética profunda donde la técnica es el principio creador. Manifestándose a través del fluir de formas, colores y texturas, refleja una conexión íntima entre la artista, las sensaciones y el medio pictórico. 

Desde el inicio del proceso creativo, las etapas de conexión se transforman en capas técnicas, que forman parte de la doble estructura de la persona artista-ingeniera: unas líneas iniciales y el uso de drippings, y materia. La etapa de reflexión y contemplación, examinando colores y formas, hasta puntos críticos de quiebre y caos. La experimentación es un juego de la conexión profunda entre imagen, manos, materiales, y se manifiestan en trazos involuntarios, accidentales, azarosos. 

Observar y ordenar: el debate incierto entre el cuadro y la artista, que se libra en la materialidad del medio y allí se reconoce la dualidad y la obra, ahora sí reafirma su carácter de superficie y apuesta al ojo del espectador a quien toca.

My work is a deep aesthetic exploration where technique is the creative principle. Manifesting through the flow of shapes, colors, and textures, it reflects an intimate connection between myself, the sensations, and the pictorial medium.

From the beginning of the creative process, the stages of connection is transformed into technical layers, which are part of the dual structure of the artist-engineer person: initial lines and the use of drippings, and matter. The stage of reflection and contemplation, leading to critical points of rupture and chaos. Experimentation is like a play of deep connection between image, hands, materials, and manifests in involuntary, accidental, and random strokes.

Observing and organizing: the uncertain debate between the painting and the artist, fought in the materiality of the medium, where the duality and the work are recognized, and now it reaffirms its character as a surface, leaving it up to the viewer's eye to engage with it.

Each work  is the sensation of the cognitive events of the eye, the vision. As a painting, it reaffirms its surface character and bets on the eye of the viewer whom it touches. When painting, I surrender to the purely material workings of painting. The creative principle is technique: the flow of shapes, colors, textures. The picture is the result of different moments that happen temporarily: initially the flowing lines and its elaboration, then drippings or matter on the canvas with different tools. This generates marks, strokes, colors; they’re irrational, involuntary, random. There’s a moment of chaos. So this the moment to work on looking. The uncertain debate between the picture and me happens , which is fought in materiality. Until the moment of the deep connection between the sensations, the materials and the pictorial fact. I stop. The event of the work can or should occur in the viewer’s experience.