Between Presentation and Representation
The most hidden thing in any attempt to represent reality is reality itself because the only present phenomena in this process are the means used to achieve it and they fill up the whole sheet, canvas or space of representation.
Any artistic image denotes or is symbolic of a kind of reality and is comprehended by the spectator thanks to the use of implicit artistic stratagems. When the means used by the artist become explicit, representation itself becomes less transparent and introverted. It talks only about itself.
Without those stratagems representation cannot exist and without representation we cannot understand our world. That is why any attempt to represent something requires, in my opinion, a clear reference to the representational means in use. In painting that means that the artist is required to foreground his materials and his brushstroke because those are the only things that really exist on the canvas.
I paint, draw and etch everyday sights, still lifes, the human body and portraits and even deal with broadcast images, in an attempt to embody the impossible co-existence between language and image, between representation and reality, between beauty and kitsch, in a Sisyphean but unavoidable challenge to deal with figurative painting and its limits.
Sometimes strong feelings want to be expressed and demand energetic brushstrokes and heavy layers, but mostly those feelings peek out from behind the image as a spontaneous and unconscious action which constitutes the real content of a work of art.
In the presence of an astonishing landscape I prefer to be simply astonished. For my painting I mostly choose every day sights, where I find numerous grays through which burst forth tones from the whole palette of colors. All sensations may be found in daily life: small portions of joy, sadness, boredom, anger, preoccupation, hope and love. Instead of trivialitize the sublime I prefer to understand differently the everyday and the banal.