Since 2001 I work taking photographs of  models, constructed scenaries. In my
project, the text refers to a diffused reality, a bordering territory between reality
and fiction. An eccentric territory inside and outside pictorial matter,
photographic and infographic, a proposal of an area of the phantasmatic
representation, close to cinema.
The experimental investigation of photography " like a prosthesis to increase
the power of our eyes, in a process of acceleration that suppresses our
knowledge of distancies and dimensions." (Paul  Virilio)
The main strategy is to imitate on scale the geological processes of nature:
erosion, disintegration, sedimentation etc.  It offers a game of tricks that we
accept bearing in mind we usually rely on the photographic media as it was a
true evidence of the surroundings.
My work with the video began in the year 2005. from September 2005 to June
of 2006 I make 5 pieces of 15 minutes. In August-October of 2006 I have
edited 15 pieces of short duration (2 to 3 minutes),The video allows to work
with the own immediacy of the reality like graphical material, and
simultaneously it requires an artisan work of assembly that allows to translate
that reality immediate to multiple filmic languages, in that the drift to the
fiction, to deconstruction and the reconstruction of the reality ,melts with the
documentary , the essay, or the metamorphosis of the image and the sound.
I am interested in that capacity of metamorphosis of the filmic image.
A constant possibility of manipulation that always maintains an suturated ,
organic,appearance very next to the oniric world and the imaginary.
this small sample of my paintings, it as much summarizes my pictorial interest
by the realism, the abstraction, as well as by my interest in a perceptive game
that leaves the interpretation of the painting open to the spectators. the  
MATER serie is simultaneously figurative and abstract. The iconism of the
painting - it is to say its effect of objectivity-  depends on coincident
techniques with a maximum of abstraction, and vice versa, the abstraction can
use completely iconic referring techniques and, for example, referring the
iconic one that I have used to compose these paintings, they are fragments of
previous pictures, (  the iconic reference is the own painting of another
picture.) and herselve, based on fragments of previous pictures, that
herselve .....this process goes back in this way until an picture-origin that was
the painting of a leaf of fern painted in live.
In 1991 I make hundreds of paintings with a technique
called decalcomany . It was used by the surrealists and in
special developed by Max Ernst. This technique was  
perfect for the programmatic lines designed by the
surrealism, since it allows to obtain iconic images, very
defined and organic without a total intervention of the mind
of the artist , of its reasoning. It would be a kind of
automatic painting which bring  images of our subconscious
part directly, of a part of our  mind resdy to create from an
amalgam of memories, images.
First approach to the istalation and the use of not
pictoric or ohotographic elements .the light as
space configurator. Expositive space is the main
character of the work.  Ultraviolet light and cotton
thread transforms the space in a
it is`nt a work that you are seeing. is a work inside
you are
Primeros pasos en la pintura china
siguiendo los pasos del maestro
en un estilo neo-Fu Baoshi.

También inspiradas en las montañas