Many years went by investigating how to merge my abstract pictorial universe with that of my paper sculptures. The result: a new interpretation of kineticism (CINETISMO). Folds and lines come together to break the limits of painting and sculpture.

My contemporary artworks are influenced by physics, mathematics, and nature. This is revealed through a group of elements that characterize my work:

I transform the frame_ which has been the skeleton of my work, into an element that is as structural as it is ornamental. Then, I re-design the canvas and model it beyond the simple use of a pictorial work.

In my sculptural paintings I create organic, geometric, and three-dimensional shapes that illustrate topographies found in nature, in geometry, or in minimalist architecture. My works are characterized by the introduction of scientific technology: Kinetic, Parametric and Moiré Effect Movements, and are distinguished by a delicate balance between structure and spontaneity, expressed through a visual language of linear and modular forms, achieved by painting, cutting and folding canvases as if they were paper.

The interaction with light and shadow are also essential elements in my work, because the same work of art can appear lighter and brighter with a soft light or darker, rigid, geometric, and even dramatic with a hard light, learning how unpredictable, surprising and at the same time controlling every work of art can be. Light and shadow effects are crucial elements in my creations, becoming an extension of my work.

I am interested in raising a tension between the theme that I develop and the material and technique that I use. The organic versus the geometric. The flexible versus the rigid. The masculine versus the feminine. The dynamic versus the static. And get, from that tension, harmony, beauty, and intimacy.

My work starts from observation. I explore the volume and movement of the forms of nature and geometry. I work on the cuts and play with them, creating strips of fabric. Then comes the direct work with the folding of the canvas.

There are no staples or screws in my work, which is to the viewers very intriguing about the technique I use.

No sculptural painting is the same as the other. They are unique pieces. They have an infinite number of faces, and their arrangement depends on the effects of light and shadow, the angle at which the work is perceived.

It excites me that viewers become part of my artwork, by moving both visually and physically. At the moment I only do wall pieces. Although my creations are growing increasingly in volume and are becoming more and more sculptural than pictorial.

I dream that my pictorial sculptures or sculptural paintings become an extension of architecture. I think of monumental sculptures or installations made by me in representative places, which not only embellish them, but also become magical and unforgettable experiences.