As a visual artist I search through painting and drawing for the undefined space between the vital and the abject. My expressionist line recovers the notion of corporeality beyond the human figure: masses of amalgamated bodies that manifest contradictory forces from within their form and movement. The body is transfigured into a fusion of perceptions that belong to sensory memory.
I often combine the nude, portraiture, and still life in dynamic, intuitive, and visceral color compositions that explore emotional undecidability and embodied metamorphosis. My floral or zoomorphic representations become characters that project their vibrant or concealed side. I particularly strive for a re-symbolization of the female body and the re-signification of the domestic world.
In my work there is a conversation between the sacred and the plastic arts, which translates into veiled disquiet or ecstatic movement. The pictorial play between pleasure and abjection not only allows me to dissolve the separation between subject and object, but also opens a space for otherness. Distortion prevents the viewer from objectifying the image—making its meaning elusive.
Painting for me is like the joy of kneading bread by hand; my deep appreciation for the technical skill that goes into its creation allows me to experience painting as a handcrafted process. My creative projects originate in my archive of references and then gradually become an exercise in redrawing that decants my own sense of vitality.
I like to experiment with different pictorial techniques, especially oil and tempera, and graphic techniques such as screen printing, engraving and monotype on different supports: canvas, wood, fabric, ceramics, paper, and 3D supports. I find that by recombining very few elements it is possible to arrive at the simplest and strongest expression of a form.