ALTERED STATES OF THE SOUL
Pictorial work
Fragments of the body and memory
The pictorial works presented here are vestiges of a practice traversed by intuition, pain and symbolic observation of the environment. They do not seek to represent the world, but to tear it apart. There are bodies, landscapes and abstractions, but there are also gestures of resistance, nods to expressionism and a constant desire for imbalance. Color and matter function as emotional languages that reconstruct -and sometimes sabotage- form.
Exile and the lost works did not close my work: they incubated it. From that silence, I took up painting again, and found in photography and technology a new alliance to continue growing as an artist.
I paint from what hurts. I paint what cannot be archived. I paint bodies that no longer have territory.
My work moves between memory, the decomposition of symbols, and the poetics of margins.
I was born in a country where images are censored and stories are erased. What is lost returns as painting, as tension, as wounded matter.
I use raw canvas, burlap, thick oil. Not out of nostalgia for craftsmanship, but out of a need for friction. Each stroke is a cut. Each surface, a field of resistance.
The figures that appear — fractured virgins, confronting animals, headless bodies — seek no redemption. They do not illustrate. They do not explain. They demand presence.
Although painting is my main medium, I also work with visual archives and AI tools. But I am not interested in technical simulation, but in symbolic reconstruction.
I take images of forgotten immigrants, broken portraits, archive photographs, and make them speak again. I distort them so they say what the past silenced.
My practice is an emotional archaeology. I paint like someone who excavates. Like someone who builds altars from fragments. Like someone who makes absence visible.
