My work consists of several lines of research. I address themes such as migration, integration, language, violence, sexuality, and questions about power in all its spectra. The mediums I use to express myself are photography, performance, video art, sculptural ceramics, and painting. I blend the artisanal and the technological, the documentary and the artistic, the introspective and the extrospective to create my own universe. Playfulness and ambiguity are constants in my work.

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I am interested in reaching a diverse audience, especially those who do not actively seek out art. Therefore, I employ various devices such as seduction, humor, or controversy, and in the case of my material work, tactile impulse, optical illusion, color, and organic textures. As a Venezuelan artist, I aim to reclaim the legacy of geometric abstraction but with a more contemporary vision.

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My recent research focuses on creating pieces that do not have a negative impact on the environment, especially regarding the technology I have developed to make them. Throughout all my artistic practices, I do not position myself at any extreme; I navigate between oppositions to achieve the much-desired ambiguity. My work constantly evolves according to my surroundings.

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Serie : Colour, impermanence and transience 

These compositions allow me to speak of vulnerability, transience and transformation. These are fundamental elements of this new phase of my career, as well as in my life. In all my work I seek metaphors that speak of myself and my interior world.

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The organic, playful and rhythmic volumes I create seek to trap the spectator in an enchantment I use to explain the inexplicable. I want to submerge the viewer into my imagination through the sinuosity of the forms and the sensuality of the pastel colours or dark colours and their subtle transitions. My paintings are dichotomous, they echo the polarities of chaos/order, stillness/movement, life and death. You can’t tell if they are fighting, fusing or disintegrating, if they are fracturing or penetrating.

In my work, I draw value from the form of the circle and the oval to compose an affiliation between the known and the unknown, these are my musical notes and colour is the rhythm I want to mark.

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Kandinsky said about the circle that it was: “the synthesis of the greatest oppositions. It combines the concentric and the eccentric into a single form, and in balance; of the three primary forms, it points the most clearly towards the fourth dimension.” From the minimalist and almost primordial use of the circle in the work of Malevich to the nearly scientific use by Vasarely and Assis or the pompous and obsessive which Kusama has given it, or the beauty to be found in the celestial bodies which Kandinsky so sublimely managed to capture in his canvases, the circle has always been a magical compositional element that even in contemporaneity has not exhausted its expressive possibilities.

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To create these works I am an artisan and an engineer, the technology I have created determines the results. Pollock’s paintings are as he created them because before him there was no paint that dripped quite in that way, and the drip technique did not permit any other result.

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And so I utilize a technology that provides me with a calm and rational mode of expression which at the same time is expressive and emotional. Thanks to this technique I cover large dimensions that would otherwise be very difficult, as well as polluting and costly. So although the result is traditional paint upon canvas, I use magnets, metal, “ecological“ paints and technology to achieve my results. I avoid techniques like screen-printing (highly polluting).