I do not work from a preconceived idea or a conceptual program. I work from action.
Each work is the result of a direct confrontation with the surface: layering, dragging, removing,
covering, intervening again. I do not illustrate thoughts; I construct a field. Painting does not
represent something external, but embodies the tension between structure and collapse.
I use different procedures—collage, scraped layers, palette-knife gestures, repeated modules,
direct interventions on the surface— yet the core remains the same: active material, superposition,
and decision. I am not interested in a recognizable formula or a closed series; I seek to sustain
intensity.
Some works emerge from more controlled systems, others from total risk. In both cases, the goal is
not aesthetic variation but real friction with the material. Coherence does not lie in repeating
resources, but in sustaining the energy of making.
I do not pursue a stable style. I pursue the point at which painting ceases to be an artifice and
becomes presence.