At present, my visual work is gathered into projects related to literature, psychology and the philosophical essay. The plastic works function as bouquets of "flowers" (I like to say it) that open from the seed that germinates in the word. It is not about an illustration of what is written, nor about a visual version of what is literary. I use plastic creation as a way of talking about different aspects of what I summon. The proposed themes (normally antagonistic, such as brightness and decadence, temporality and the eternal, the same and the different, the near and the far, the appropriate and the excessive) are evidenced in the plastic composition through the materials, their origin, and the title with which I name the resulting construction, appealing to nurture it with the concerns and convictions of those who contemplate it (be they philosophical, psychological, scientific, cultural, social, religious or historical). In this way of “thinking pictorially”, I have carried out the project “The garbage of the unconscious” (set of large compositions in mixed technique on waste bags and other non-conventional surfaces to be used as canvas) in parallel with the gestation of my novel “Relapse” (2019). In the same way, “Ishihara Test” (9 paintings on ultra-low-density fabrics) took shape during the writing of “A small disillusionment” (2021, the most recent).  Last, the paintings of the project “The flowers of thought” (made with multiple materials, including gold leaf, on tablecloths where we previously held dinners with different friends for whom we cook) accompany my novel "The repents" (2020) published during the confinements awarded to covid-19.

 

As visible manifestations of a questioned unconscious, my plastic work opens veiled on the historical, personal, and social theme, and on the interpretation of the events of the moment, to provide an additional access point from which to contemplate what surrounds us and, with luck, start a new conversation.