This series of artworks explore the Universe and its unity in the infinite diversity of elements. They describe the multiplicity of the Universe depicting. 1) Its juxtapositions between chaos and harmony. 2) Its constant change and movement. 3) Each of its parts containing the whole. The combination of all this components creates a visual plurality that the artist calls: Energies.

The variety of elements in these paintings is several energies vibrating simultaneously. These energies of the Universe are described through highly saturated colors, variety of gestural brushstrokes and shapes, a sense of overall rhythmic movement and the illusion of tridimensional space.

These compositions have two readings: A first one that comes like a blow, in which all areas clamor in unison at the top of their lungs. And a second one when the viewer realizes that each painting is in fact the sum of its parts, what is to say, of various smaller paintings, both possible and openly suggested by the work in question.





These artworks represent a transition between a more controlled process to work to a more adventurous one. They express something very emotional and personal in feeling, not just the evolution of an idea. They are very spontaneous and with not so much strategy.

 This unconscious way to work allowed the artist to connect with the act of paint more directly, with less interference of the conscious mind. Multiplicity of graffisims, brushstrokes, lines, splashes, drippings and textures, are expressed all of them simultaneously

This series of paintings unifies oppositions and energizes a blend of rational and emotional notions. They juxtapose humble elements with big gestures. Several moments are visualized and expressed with diverse techniques



YING-YANG SERIES  2001-2006  

This series of artworks evoke the balance between two extreme opposite forces: Ying-Yang. The apparent contradiction between these two strengths creates a complementary sense of unity that is expressed here.

These installations create a whole environment that deconstructs the traditional exhibition space and changes the viewer’s usual passive role by inviting them to participate in an ideal “Ying-Yang World”.

The works were made on the floor using dripping and other effects. In a manner of the action-paintings techniques. The artist literally draws with the dripping his graphisms and patterns following a circular movement as an expansion of the infinitum form, repeating them obsessively in a never ending way all around the whole surface of his pieces.

Patterns are fundamental in these works. They provide a structure to articulate the artist’s vision. When they appear perfect there is always a segment that betrays the overall exactness and confirms the objects having made by hand.



The artworks from this period are the representation of different kinds of moods altogether inside of one frame. They have an intense and sensual sense of unity. The shapes had color that was partly knocked down, but mostly electric, and they were improvised and spontaneous but at the same time precise.

This series of paintings play between these two elements: Shape and color. Sometimes they merge, and sometimes there is a tension between them. This play in tension between pictorial surfaces and applied materials creates complex and straightforward layers of expressive abstractions.

These compositions don’t have a real space and there is not a center focus. Each part of one same work of art is strong enough and different from the rest and at the same time, alltogether make one piece. The selection of the colors and shapes in each contrasting plane corresponds to an emotional, physical and psychological registered moment.