Exhibitions

Impressed at Torre del Mangia, Sienna Italy August 2001.

Artistically autodidact, Self-taught in the artistic field. Since I was able to hold a pencil in my hand, naturally for me, I have always been passionate about drawing and I have felt attraction for painting and in general all the Arts.

I've made drawings and sketches, or my own comic characters as far as I can remember but I start painting in 1998 . I currently use oil painting, though part of his work is based on a mixed technique, tempera, acrylic on paper, cardboard, wood or canvas.

I´ve exhibited my works mainly in Spain: Madrid, Zaragoza and several Galician cities and in the north of Portugal. In collective exhibitions I participated at public institutions as Museo Municipal de Ourense. For several years in diferent shows focused on human rights, charity and Solidarity). I took part on the 6th FAIM ART Independent Art Fair in Madrid.

In January 2000 I opened my first personal website (... just only 28 works). June 2004 I opened my studio, sharing a floor with other painters. In 2011 I moved and established my own studio in Santiago de Compostela, Spain.

I decided to priorize showing artworks on internet for reaching wider spectrum international public.

My works are present in private collections both in Spain and abroad: Malta (3), Belgium (1), Argentina (1), France (7), Germany(3), Norway (1), Austria (2), Portugal(3), United States(5), Sweden (1), Greece (3) or Singapore (1).

For years, aware of the great impact of social networks, I am present in: Instagram, Facebook, Flickr, ...

It is not easy to stay on the road but growing day by day.

Open to new projects, commissions and collaborations with galleries across the world.

Interview

What are your sources of inspiration?

 I have to say that concious and unconcious perceptions, my background, all circunstances of my life, past and present, booksand newspapers that I read, films…feelings, emotions and a fertile imagination sometimes, all them aid to weave a story that will change alongside the execution of a piece.
I have also to admit that the transcendent and oniric themes entered and remain in my artwork. I invite and allow the viewer to imagine and interpretate, I wish they translate the images to their own intimate world and feel free to build and complete the stories. It’s just a goal of communication I'm chasing for years.

It seems that there are references to non-tangible dimensions, other worlds perhaps?

In my opinion our tradition, for thousands of years, the Arts, including supposedly realistic works or purely abstract, reflect the vision of a trascendent life beyond our tangible life This vision enriches the conception of Humanity and gives the arts a multiplicity of motifs to explain the life of humans from conception. The harvest of masterpieces in all arts reflecting a non-real dimension is hard to measure, specially their influence in our Culture.
 All these elements, oniric, fruits of imagination, myths, legends, the religious ones, the alternate to reality… are present in my artwork, sometimes they are hardly suggested.

Your art work reflects the human being in an urban context not identifiable with concrete cities, why?

Unreal cityscapes let us a special kind of plasticity. The imagination and feelings are active agents that are modeling the perceptible reality. We can choose to make buildings, streetlights,clouds on coulored skys to become alive entities with soul and feelings. We are not alone in the painting. They are watching us and living in other dimension of time and space. As we are material corps we share the time and the space. As we are also inmaterial entities, our souls and imagination share at time intangible worlds with other souls, ideas and conceptual creations.

Do you start from a previous sketch? How do you develop the creation process?

I just only can say that in the begining, when I begin to draw and paint, I usually have not idea about what I will show on the surface. Some shadow on surface, one trial mark of paint or pencil invites to the next one to come to life. The relationship between some of these little elements determines the existence of a possible form. In other part of the canvas or board the same process could be happen. Certain insecure or absence  of knowledge of the final result are necessary for undertaking some enterprises.

Of course the will of continue and will to finish the painting, some day in the future, are also required. This, until the main and secondary ideas of the painting are defined, usually decelerates the progression of work. This factor lets take time for oxygen, some new, complementary and alternative ideas may enter in play. The painting is an idea in evolution and needs to take breath. At the same time other works are in gestation in other canvases or just in my mind.

And those ideas are flowing and changing constantly?

Each painting requires to the painter to stay in the story that I’ve told. Some mental preparation to begin the journey is needed. I observe and scrutinize the state of the work during some minutes in front of the canvas. I have to immerse myself on that. A part of work is to do it several times a day. Even if I am walking in the street, traveling or in bed the images of that painting and other come to my mind. A painting is an idea in permanent evolution, even though I consider it finished. For me to paint it is not a manual but mental work. Both of them but mainly the second.

And the ideas are the bricks of the stories you tell, don't are they?

Yes really, this way the story is essential in the core of my paintings.  Therefore for me is necessary to analyze colours, intensity, proportions, figures, composition, etc because I make all conditional on the story or main theme that I wish to express.

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