I see my painting as portals, constructed spaces, small theaters that renounce formal logic. It is evident that, in the way they are presented, they might suggest a certain narrative, but ultimately it is the viewer who decides and gives continuity to the images. The viewer should not ask what the artist intends to say, for at the moment of contemplating the work, the viewer becomes the artist.

In my paintings, there appear elements that allude to reality but simultaneously escape from it. It is in this encounter with the possible real where the image connects with the audience.
Here, drive manifests as desire and gives way to the symbolic, for the images that come and go in my work have a clearly real content which, when articulated, present themselves as alternate realities that challenge the limits of the knowable.

It is true that, although conceived as a personal construct that alludes to the basic conflicts of the human being (or perhaps precisely because of this), the work is exposed to possible failures—dead ends that correspond to the labyrinths of thought, short circuits that halt us, where language seems to yield to shadow.