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Tiny dancer
5.9 x 9.8 x 0.1
I wanted to explore the movement of a dancer, so I observed a lot to one of my dearest friends. I realized that he was a different self as the movement changed, so I focused on describing every dancer I saw. The graphite seemed appropiate to mark and reveal every trace of his movements.
Untitled
3.9 x 5.9 x 0.1
I watched my little borther while sleeping, but I wanted to register time somehow. So I used oil to vanish the traces of the pencil and the steins of it built new traces. There was an old drawing on the other side of this one so eventually that one also started showing, colliding two subjects, two drawings, two mediums.
Conclusions about death
13.7 x 7.8 x 0.1
Someone asked me what I thought about death. I read something about how it to die is more a process of living rather than an end to a life. But then I also asked myself about all the ways we have for dying. I feel that every time we love we also die a little bit. When we are dancing, flying: every time we break off ourselves and let us be, we also die. This messy selfportrait is a reflections of my thoughts. When I play with oil, tape and ripped paper while drawing I also die.
Ben
Nana
Buttercup
Stephen
2018
Cami
2018
Claustrocleitrophobia 1
2020
5.1 x 6.2 x 0.1
Claustrocleitrophobia is an editorial project that tries to reflect the ills created by the lockdown. It’s a sequence of the inside, of the things that are caged but shout to be set free. The lock down made myself conscious about the spots in the walls and the noises in the dark. The lungs work harder and the voices in the head become corporeal beings. The pressure of a reduced space translates into anxiety and need to scratch and rip. The images also became a catharsis. To mince the charcoal, to scratch without thinking and to fill a black that consumes and disturbs. They build a narrative that is lock itself, delimitated by paper and the need to contain these phobias on their own space.
Claustrocleitrophobia 2
2020
5.1 x 6.1 x 0.1
Claustrocleitrophobia is an editorial project that tries to reflect the ills created by the lockdown. It’s a sequence of the inside, of the things that are caged but shout to be set free. The lock down made myself conscious about the spots in the walls and the noises in the dark. The lungs work harder and the voices in the head become corporeal beings. The pressure of a reduced space translates into anxiety and need to scratch and rip. The images also became a catharsis. To mince the charcoal, to scratch without thinking and to fill a black that consumes and disturbs. They build a narrative that is lock itself, delimitated by paper and the need to contain these phobias on their own space.
Claustrocleitrophobia 3
2020
5.1 x 6.5 x 0.1
Claustrocleitrophobia is an editorial project that tries to reflect the ills created by the lockdown. It’s a sequence of the inside, of the things that are caged but shout to be set free. The lock down made myself conscious about the spots in the walls and the noises in the dark. The lungs work harder and the voices in the head become corporeal beings. The pressure of a reduced space translates into anxiety and need to scratch and rip. The images also became a catharsis. To mince the charcoal, to scratch without thinking and to fill a black that consumes and disturbs. They build a narrative that is lock itself, delimitated by paper and the need to contain these phobias on their own space.
Claustrocleitrophobia
2020
7.8 x 3.1 x 0.1
Claustrocleitrophobia is an editorial project that tries to reflect the ills created by the lockdown. It’s a sequence of the inside, of the things that are caged but shout to be set free. The lock down made myself conscious about the spots in the walls and the noises in the dark. The lungs work harder and the voices in the head become corporeal beings. The pressure of a reduced space translates into anxiety and need to scratch and rip. The images also became a catharsis. To mince the charcoal, to scratch without thinking and to fill a black that consumes and disturbs. They build a narrative that is lock itself, delimitated by paper and the need to contain these phobias on their own space.
Selfportrait
9.8 x 5.9 x 0.2
Selfportraits are always an opportunity to fight the fears. Through silence and self conversations I managed to finish and oil painting for the first time in years. I realized with this one that when I paint I tend to draw with paint and when I draw I tend to paint with whatever I'm using. There's always an struggle of where my work belongs in therms of categorization. Also, the duality of my self showed up through light and expression.
Grace
With my digital portraits I always tend to explore more the marks inside the face. This reference was provided by her sister Josie, and it had a lot of pure joy and honesty. So I tried to focus on her smile and the beautiful wrinkles it left on her face.