Simplemente disfruta con tus ojos y tus sentidos, lo mismo que hice cuando acepté una tregua con el ego y me entregué al placer de la formalidad. Este y todos los demás paisajes de flores que puedes ver en esta colección son absolutamente mentales, se hicieron sin tener una referencia fotográfica. La referencia más directa es la imagen ideal en mi mente de la naturaleza mientras la proceso mentalmente. Recogiendo en esas imágenes mentales filtros estéticos que devienen de la historia del arte, como la pintura impresionista, particularmente Monet, con sus increibles nenúfares. Cuando hago estas pinturas, simplemente trato de fluir, es curioso que durante el proceso piense en series de obras más complicadas en su trasfondo de significado en torno a la pintura y en consecuencia, en su solución formal. Esta es una de las razones por las que se titulan "Soliloquio" y forman parte de la misma larga serie de pinturas con este mismo proceso y significado. La mayoría de ellos tienen una línea de texto sobre las imágenes de flores. Están relacionados con la meditación sobre la pintura a lo largo del tiempo de trabajo.

From the series: Soliloquy. #.13 / 53” x 54”. Oil on canvas. 2020.

From the series: Soliloquy. #.11 / 112” x 82”. Oil on canvas. 2020.

About the Memory series.

I had been casually thinking about starting a series on Memorial Statues, using the representation of the image outside the typical tradition of the visual angles of these monuments. I was moved by the idea of ​​how these monuments construct a narrative of power and express a dimension of values ​​that rise to the category of ideals; which at that level are accepted as immovable and unquestionable. The way in which a syntax of supernatural meaning is constructed ends up establishing an absolutely arbitrary relationship that enjoys an immunity from questioning. Currently, a number of debates have taken place around the legitimacy of many of these public representations or monuments. I started with this image of a hero of history closely related to philanthropy and a controversial love of nature, I say controversial because he has been criticized for practicing hunting. This statue and others were the subject of a national debate that took place a month after I represented it in my painting. The debate was given by issues that the media has been feeding for a long time

on xenophobia, and particularly in the case of this monument, the President is on horseback accompanied on each side by an indigenous African and an American Indian, which seen from the lens of the problem under discussion builds an image of submission.

The bronze statue of James Earle Fraser, erected in 1939, depicts former President Theodore Roosevelt on horseback, flanked by an African Indian and a Native American. The vandalism of this statue comes amid a national debate over statues dedicated to controversial historical figures sparked by protests by nationalist groups over the removal of a statue of Confederate General Robert E. Lee. in Charlottesville, Virginia.

Beyond the controversy of the figure of this general, what surprises me is how the power ignites social controversies and mobilizes the masses in a kind of exercise to break the social fabric, updating division, hatred and irrationality. resources of mass domination.

From the series: Memory.#.1. Theodore Roosevelt. Oil on canvas. 78” x 78”. 2020.

Malevich / White on White.

From there, great efforts arose to expand the margins and the renovation capacity of the painting. The withdrawal of painting from the subtraction of color and sensual forms towards the pure meanings of the geometric summary. An energetic impulse of formality to rise to the environment of thought and create a future body inherited by conceptual art. I have taken that superficial quality of the material, the white oil in a profane act of contemporaneity, reconnecting that formal legacy by introducing figuration discarded by pure geometric abstraction in its original discourse. An attempt to summarize the conceptual and formal possibilities for this medium. What may be a naive impulse translates into the same obsession of the great historical figures from modernity to the contemporary of renewing the body of painting. This background is common to the rest of the series that I did in this technique. Differences occur through the use of images. In the case of the museum scenes, where fragments of exhibited pieces are represented, I build a symbolic circle on that spiritual history that impelled art itself to frantically reinvent itself until subtracting intuitive formality and establishing the rational, the specialized, the fragmented of Art contemporary. Culture replaces images, rescues them from their past. Re-instrument a fragment of that story. institutionalizes it, revalues ​​it. A ruin is an ideal image of what becomes sacred from the function of the disused object.

From The series: Ruins. #.5. China. Metropolitan Museum. NY. 2019

About Soliloquy series

Just enjoy with your eyes and your senses, the same as I did when accepting a truce with the ego and giving myself up to the pleasure of formality. This and all the other flower landscapes that you can see in this collection are absolutely mental, they were made without having a photographic reference. The most direct reference is the ideal image in my mind of nature as I mentally process it. When I make these paintings, I simply try to flow, it is curious that during the process I think about more complicated series of works in their background of meaning around painting and, consequently, in its formal solution. This is one of the reasons why they are titled "Soliloquy" and are part of the same long series of paintings with this same process and meaning. The most of them have a line of text over the images of flowers. They are related with the meditation about painting through over the time of work.

From the series: Soliloquy. #.14 /85 1/2" x 37 5/8". Oil on canvas. 2020.

the new in progress series of abstractions

This piece is the first of a series of abstractions that are in the process of production, and that connect only through the use of this formal language with a previous stage of my work, the collection of data on the movements that I was making in the city during days generated a geometric shape that, although it made logical sense, ended up being formally an abstraction. In this case I approach abstract formality with a contextual vision of the history of abstraction itself and the strong presence of this type of language in American art also as a way of narrating everyday life or the myths of art in general.

The last dream of Marilyn Monroe. 49 3/4” x 50 3/8”. Mixed media on canvas. 2020.

Esta pieza es la primera de una serie de abstracciones que están en proceso de producción, y que conectan solo por el uso de este lenguaje formal con una etapa anterior de mi trabajo, la recoleccion de datos de los movimientos que iba realizando en la ciudad durante dias generaba una forma geometrica que aunque tenia un sentido logico terminaba siendo formalmente una abstraccion. En este caso me acerco a la formalidad abstracta con una visión contextual de la historia de la propia abstraccion y la fuerte presencia de este tipo de lenguaje en el arte estadounidense tambien como una manera de narrar la vida cotidiana o los mitos de del arte en general.

From The series: Ruins.#.7. Africa. Metropolitan Museum. NY. Mixed media on canvas. 2019.

From The series: Ruins.#.6. Africa. Metropolitan Museum. NY. Mixed media on canvas. 2019.

From The series: Ruins.#.6. Africa. Metropolitan Museum. NY. 2019.

Malevich / blanco sobre blanco.

A partir de ahí, surgieron grandes esfuerzos para ampliar los márgenes y la capacidad de renovación de la pintura. La retirada de la pintura desde la sustracción del color y las formas sensuales hacia los significados puros del resumen geométrico. Un impulso energético de formalidad para elevarse al entorno del pensamiento y crear un cuerpo futuro heredado por el arte conceptual.

He tomado esa calidad superficial del material, el óleo blanco en un acto profano de contemporaneidad, reconectando ese legado formal mediante la introducción de la figuración descartada por la abstracción geométrica pura en su discurso original. Un intento de resumir las posibilidades conceptuales y formales para este medio. Lo que puede ser un impulso ingenuo se traduce en la misma obsesión de las grandes figuras históricas desde la modernidad hasta la contemporaneidad de renovar el cuerpo de la pintura. Trasfondo común al resto de la serie que hice en esta técnica. Las diferencias se producen mediante el uso de imágenes. En el caso de las escenas del museo, donde se representan fragmentos de piezas expuestas, construyo un círculo simbólico sobre esa historia espiritual que impulsó el arte mismo a reinventarse frenéticamente hasta restar la formalidad intuitiva y establecer lo racional, lo especializado, lo fragmentado del Arte contemporáneo. La cultura emplaza las imágenes nuevamente, las rescata de su pasado. Vuelve a instrumentar un fragmento para esa historia, la institucionaliza, la revalorisa. Una ruina es una imagen ideal de lo que se vuelve sagrado a partir de la función del objeto en desuso.

DRAWING SERIES / Full time artist

The pieces of Full time artist are a wide series of drawings that have been made from photographs that I was taking day after day during long hours of stay in the rooms of the Metropolitan Museum of New York. For 150 days I was working in their rooms as a security guard. The first month of work was quite exciting and constructive. I had many hours to observe with exhaustive tranquility many of the works that was present there, made by great masters, from the European classics, Rembrand, Rubens, Vermer, to Monet, Van Gogh, Seurat, Loutrec, Manet, De gas, Renoir. Works by Picasso and other great avant-garde masters such as Malevich or Mondrian and by more contemporary masters of Pop Art or Minimalism. Different collections of African, or pre-Columbian tribes. The galleries of Egypt, Japan, China, Morocco, the decorative art rooms. It is an encyclopedic museum that I recommend to all to visit. After the first month or maybe a little later I started to experience terrible emotional tedium, I was wondering why that feeling was happening to me, I had no reason. I was working in a place that I liked. I had the privilege of observing at no cost the hours I wanted, the original works that I appreciated all my life from a distance of a cold magazine sheet. How was such a feeling possible? I mentally punished myself thinking I was not appreciative of my luck. It took me some time to analyze and understand that this feeling was due to the fact that I was many hours standing in front of what it was my dream to realize. Deep down I was wishing for my time to do my art work. From this experience came the idea of ​​making at least the copy of an image of a work present in the space where I was every day in the Museum. At this point I needed to employ myself in the mere technical exercise of copying the selected image in a traditional medium such as drawing. The series would then be titled Full time artist, carrying the information on the copied image and becoming a kind of update of my profession as a full-time artist and as a residual result of all that time working in another profession. The drawings of objects in museums, as well as a previous series of paintings with the title: A lesson in solitude, are connected with this new series. The previous made works was an archive of images of objects confined in museums as a metaphor of the contemporary life of those fragments, objects that are part of the architecture of the art market, as a reference for the construction of value. The sentence about its condition of solitude is a symbolic image of the sensitivity of the object's history, regarding its currently destiny.

From The series: Full time artist- Ruins.#.1. Africa. Metropolitan Museum. NY. 2019.

From The series: Full time artist. Ruins #.3. India. Metropolitan Museum. NY. 2019.

From The series: Full time artist. Ruins.#.5. Africa. Metropolitan Museum. NY. 2019.

From The series: Full time artist. Ruins #. 7. china. Metropolitan Museum. NY. 2019.

From The series: Full time artist. Ruins. #. 9. Greece and Rome. Metropolitan Museum. NY. 2019.

From The series: Full time artist. Ruins.#.2. Japan. Metropolitan Museum. NY. 2019.

From The series: full time artist. Ruins.#.4. Japan. Metropolitan Museum. NY. 2019.

From The series: Full time artist. Ruins.#.5. Africa. Metropolitan Museum. NY. 2019.

From The series: Full time artist. Ruins. #.8. Egypt. Metropolitan Museum. NY. 2019.

Serie de dibujos / Full time artist

Las piezas de Full time artist son una amplia serie de dibujos hechos a partir de fotografías que tomé día tras día durante largas horas de estancia en las habitaciones del Museo Metropolitano de Nueva York. Durante 150 días estuve trabajando en sus habitaciones como guardia de seguridad. El primer mes de trabajo fue bastante emocionante y constructivo. Tuve muchas horas para observar con exhaustiva tranquilidad muchas de las obras allí presentes, realizadas por grandes maestros, desde los clásicos europeos, Rembrand, Rubens, Vermer, hasta Monet, Van Gogh, Seurat, Loutrec, Manet, De gas, Renoir. Obras de Picasso y otros grandes maestros de vanguardia como Malevich o Mondrian y de maestros más contemporáneos del arte pop o el minimalismo. Diferentes colecciones de tribus africanas o precolombinas. Las galerías de Egipto, Japón, China, Marruecos, las salas de arte decorativo. Es un museo enciclopédico que recomiendo a todos que visiten. Después del primer mes o tal vez un poco más tarde comencé a experimentar un tedio emocional terrible, me preguntaba por qué me estaba ocurriendo ese sentimiento, no tenía razón. Estaba trabajando en un lugar que me gustaba. Tuve el privilegio de observar sin costo las horas que quería, las obras originales que aprecié toda mi vida desde la distancia de una fría revista. ¿Cómo fue posible ese sentimiento? Me castigé mentalmente pensando que no apreciaba mi suerte. Me llevó algo de tiempo analizar y comprender que este sentimiento se debía al hecho de que estuve muchas horas frente a lo que era mi sueño. En el fondo, deseaba mi tiempo para hacer mi trabajo de arte. De esta experiencia surgió la idea de hacer al menos la copia de una imagen de una obra presente en el espacio donde estuve todos los días en el Museo. En este punto, necesitaba emplearme en el mero ejercicio técnico de copiar la imagen seleccionada en un medio tradicional como el dibujo. La serie se titularía a tiempo completo. llevaría la información sobre la imagen copiada convirtiendose en una especie de actualización de mi profesión como artista a tiempo completo y como resultado residual de todo ese tiempo trabajando en otra profesión. Los dibujos de objetos en museos, así como una serie previa de pinturas con el título: Una lección de soledad, están conectados con esta nueva serie. Las obras realizadas anteriormente eran un archivo de imágenes de objetos confinados en museos como metáfora de la vida contemporánea de esos fragmentos, objetos que forman parte de la arquitectura del mercado del arte, como referencia para la construcción de valor. La oración sobre su condición de soledad es una imagen simbólica de la sensibilidad de la historia del objeto, con respecto a su destino actual.