Interview
I began, like most painters, by painting reality.
Landscapes?
No. Landscapes were my grandfather’s subject. He was the one who passed on to me, as a legacy, the desire to paint. I began by painting other realities.
But your reality gradually began to change. Your paintings started to float.
Yes. Perhaps I began to perceive that everything floats in space, upon the sphere of the Earth.
But I have also seen paintings in which the elements neither float nor seek to replicate reality.
And some of them seem to place a strong emphasis on human emotions.
Yes. Experimentation eventually led me to become fascinated—almost obsessed—with emotional expression.
So that’s where his final phase began?
That’s right; neither his facial expression nor his body language reveals a single emotion. Anger is felt simultaneously with frustration, sadness, a sense of helplessness... We cannot describe what someone feels with simple words. Another language is needed: music, painting, poetry... Art. Art that allows for a simultaneous transfer from the artist’s mind to the viewer’s subconscious.
My focus has increasingly shifted toward communicating what human beings feel in different situations.
For example, what shocks the drug lord’s widows when he is murdered?
When have they lost the power and money he provided them? When have they been left exposed, without support?
But I also see characters from Greek mythology.
Mythological characters have feelings too. What does Sisyphus feel, having been condemned to perform an exhausting yet utterly pointless task?
What emotions does Leda feel, having fallen in love with a swan?
And where will this phase lead him? What will come of it?
Only time will tell. I don’t know.