I was here by saying it´is personal, but should be looking at what is´behind the figure, since I make art to the desire to live forever. Beautiful becomes an experience of real time. So that is full of sadness.
My interest in communicating the very questions of time has me adopted biological and organic processes: emotion. To address the ordinary the best ideas tend to become stories and their parallel problems clear the boundary between reality and that of the image I paint. I tend to stretch an idea as far as it can go and you wonÂ´t find it always hanging at home over the couch comfortably numb. DonÂ´t trust me the expression of the differences I pick, the intensity and passion of it. The works often continue constantly to uphold information and endlessly we are interested in to make it and unmake it at the same time.
To think, to construct the works and I want people to feel and to probe psychological narrative elements. I am interested in the paradox. Work should be pleasure. My paintings are not at all realistic as being derived more from within the head than from what is out there in the open. That freedom of consciousness and space that can be altered, exchanged or interchanged is not weighing me down and that includes the aesthetic side. Not everything can be controlled. To enjoy the obvious I want to build it from an image I love, tough applied to a special place or special set of concepts.
I am more curious about this statement to talk about Art has to be to me, my ideas, be the excuse for it was different from everything I decided to make, therefore it exists. We will have the objects we live behind; there are all kinds of rules and limitations, in what is already a kind of accessible and slightly irreverent at the same time. Talking about definition of performance as reality must be noticeable for its foulness, which implies distance and exclusion. Take an object, energy is eternal and reflects the way things are to be derived from trying to break the problem without depending on an intellectual system for support.
As a sign of independence I am trying to articulate what juxtaposition of the body of art is into an environment, the whole ethos of painting. I think whatÂ´s happening is still part of the whole exclusion process, as the result or a by-product of day-to-day real life distance from the actual image. Of the impossible and the possible as having a double life I guess what I am interested in is the quality already deep inside you. There is certainly a kind of multiplication of the exactly the very conscious ideas with the events and the surroundings of the aspect of arbitrary reaction and tradition-conscious medium.
To create an atmospheric experience that could be true to be exhibited, to question preconceived ideas, undiminished - a paradigm for to be a painter, where process is an object to deal with and process - I wish I were innocent. Things to relate accommodates in so far as it always involves the present. The consequences, even the idea of the past is a temporary one, in conflict with one's own work. I can be totally involved in my paintings and I always try to kind of exaggerate the work to act like notions of ambiguity and disorientation thatÂ´s so liberating including the moment of deception.