In my work, painting is a subjective transposition of individual images captured by video movement. I have always drawn on the Hollywood film repertoire of the golden age, initially to mix it with childhood souvenir photos or other visual material in an attempt to reconstruct an unclear experience, or to invent a personal epic alternative to reality. Gradually the imagery of that cinema, universal and timeless, replaced all the others, to become a kind of iconographic atlas with which I create my own poetic and pictorial narrative.

The landscape in my paintings usually remains hidden, cut out of the frame or barely hinted at: it is within the gaze of the protagonist subject, who is seeing what we can guess or imagine, through their eyes.

At other times a view, a foreshortening of a panorama, appears as a backdrop, without any claim of likelihood or even plausibility, and always ends up accentuating the contradiction between a (cinematographic) narration that uses fiction to be realistic, and the veracity of what is manifested, of what happens and is expressed by the painting.