The idea of the vestige as a sign referring to an absence has been the subject matter of my work. Understood as a mark, imprint or gesture, the vestige has taken the place of a scar, an absence, and more recently: the presence of the nonexistent. Through the use of the stain as an empty signifier, I have developed a body of work that can be characterized -in formal terms- as being either abstract or directly factual. Interested in the possibility of transformation and personal catharsis, I have welcomed an ominous quality in my work and promoted a sense of mystery through the use of an enclosed symbolism and a particular atmosphere.
The idea of the vestige as a sign referring to an absence has been the subject matter of my work. Understood as a mark, imprint or gesture, the vestige has taken the place of a scar, an absence, and more recently: the presence of the nonexistent. Through the use of the stain as an empty signifier, I have developed a body of work that can be characterized -in formal terms- as being either abstract or directly factual. Interested in the possibility of transformation and personal catharsis, I have welcomed an ominous quality in my work and promoted a sense of mystery through the use of an enclosed symbolism and a particular atmosphere. Characterized by a fragmentary narrative that points to bodily aspects of form and meaning, the series under the title of Strange Dark Interlude speaks of the conjunction of concepts related to the ineffable (as that which cannot be spoken of and that which should not be spoken of).
My interest in the uncanny nature of things and the emotional response that certain visual elements establish with the viewer puts forth an installation piece comprised of paintings hung within a darkened space, sound, and a revolving searchlight that makes the visible possible, if only for an instant. Strange Dark Interlude comes as a response to my experience of mortality, and is ultimately aimed to reflect upon our experience of seeing. Characterized by a fragmentary narrative that points to bodily aspects of form and meaning, the series under the title of Strange Dark Interlude speaks of the conjunction of concepts related to the ineffable (as that which cannot be spoken of and that which should not be spoken of).
My interest in the uncanny nature of things and the emotional response that certain visual elements establish with the viewer puts forth an installation piece comprised of paintings hung within a darkened space, sound, and a revolving searchlight that makes the visible possible, if only for an instant. Strange Dark Interlude comes as a response to my experience of mortality, and is ultimately aimed to reflect upon our experience of seeing.