Fortunately or unfortunately, I have had a formal artistic training. However, there is one aspect of it which has been decisive in the development of my career and it is that, almost unintentionally, I have fused photography and painting.
The interest I have always had in painting and architecture originates in the same source that my wish to draw near to photography springs from. In fact, the artists who have the strongest influence on my work are photographers or artists who work with photographic images.
The manner in which I have been working in recent years basically consists of manipulating photographic images I myself create, which I then process electronically. The images resulting from this method are then painted or printed with silkscreen frames. That is, I use this tool, the frame, as one of my paintbrushes.
Despite printing repeatedly, I have not produced numbered series or editions up to now. The works have always been individual modules, which, joined on a single surface, establish their own resonance.
They are really images of the city, urban landscapes of the place where I find myself. They act as a frame, as ongoing reflections on a life between the domestic and the urban, as a sort of approach to the things which surround me. Like a zoom lens or a movie camera, my vision generally moves between the general and the particular and vice-versa, with neither a logical nor a consecutive chronology. At times, this technique unleashes a fairly meticulous approach to the objects and the portrait. On other occasions, the lens opens and I pause to observe the architecture of things. In short, my work is a constant exploration of the actual city which surrounds us.