My artwork is about the language of the Universe: The big variety in the unity. The juxtapositions of chaos and harmonies, as well the balance that exists between this two apparent opposite forces that in the end complement each other. 

I am searching for the multiplicity in the oneness. A maximum intensity with a sense of balance, expressed by a highest vibration in colors, a constant change in forms and shapes, a rhythmic sense of movement and the illusion of a tridimensional space. 

The variety of elements in my paintings are several energies vibrating simultaneously, each of them with a different speed, like a group of musical instruments playing their own solos, but all making together One music.




My paintings are the representation of different kinds of moods altogether inside of one frame. They have an intense and sensual sense of unity. The shapes had color that was partly knocked down, but mostly electric, and they were improvised and spontaneous but at the same time precise.

The paintings play between these two elements: Shape and color. Sometimes they merge, and sometimes there is a tension between them. This play in tension between pictorial surfaces and applied materials creates complex and straightforward layers of expressive abstractions.

These series of paintings unifies oppositions and energizes a blend of rational and emotional notions. They juxtapose humble elements with big gestures and make references to pop culture, to spiritual narratives and to some historical concepts


YING-YANG SERIES  2001-2006  

My work evokes the balance between two extreme opposite forces: Ying-Yang. The apparent contradiction between these two strengths creates a complimentary strong sense of unity that I try to express in my artwork.

In my installations I like to create a whole environment that deconstructs the traditional exhibition space and changes the spectors usual passive role by bringing them inside an ideal “Ying-Yang World”.

My goal is to analyze the tension between the visible and invisible, order and chaos, weight and lightness, speed and immobility, cold and warmth, square and circle, texture and flatness.

I work on the floor using dripping and many other effects. In a manner of the action-painting techniques. I literally draw with the dripping my graphisms or patterns following a circular movement as an expansion of the infinitum form.  I repeat them obsessively in a never ending way all around the whole surface of my pieces.

Patterns are fundamental in my work. They provide me a structure to articulate my vision. When my patterns appear perfect there is always a segment that betrays the overall exactness and confirms the objects have been made by hand.



My paintings don’t have a real space and there is not a center focus. Each part of one same work of art is strong enough and different from the rest. Several moments are visualized and expressed with diverse techniques. The selection of the colors and shapes in each contrasting plane corresponds to an emotional, psychological and physical registered moment.

My paintings have two readings: A first one that comes in like a blow, in which all areas clamor in unison at the top of their lungs. And a second one when the viewer realizes that each painting is in fact the sum of its parts, what is to say, of various smaller paintings, both possible and openly suggested by the work in question.

I work on the floor and usually on a big scale, I like to use drippings and many other effects in which my body movements are deeply related to the strength of the painting.

I use fluorescent colors and different materials to provoke optical effects and tactile