manos cruzadas Painting

Art is not for me a profession, not even a job, it is simply a way of being and living, a space in which I feel safe, an escape from the madness, channeling my emotions and instincts a move away from sterile noise, an attempt to build a complementary universe, an experiment of creating own images, a break free of them and deliver them if anyone would come. And fundamentally the attempt to capture my own judgment of beauty. I was born in Buenos Aires, Argentina, in 1944. Since I was a child I felt a strong attraction to the shapes and colors of the world around me, but I assumed what was expected of student conventional training, and son who dares not to rebel. At 22 I decided to abandon my studies in architecture and from that moment my training was essentially self-taught, absorbing avidly orientation of free workshops masters of Argentina painting, which I attended in the late sixties. It was instrumental in my early conception of art as a synonym of freedom and personal expression that conveyed my first teacher, the painter Demetrio Urruchúa in his workshop in Buenos Aires. In my more than 40 years of concentrated and passionate work, I stubbornly dedicated to my work evolve towards an expressive art and collecting vital signs of Contemporary Art and that dictates my own intuition and sensitivity. Perhaps it would be good to give some reference which is, in my case, the process of generating the plastic work: beginning the task, almost in a state of rapture, this may be the thread that leads me to the end or it may be simply a failed attempt and start again until he found the keys in which I read the map to go. I must say, however, that always start the adventure of the work on a compositional plan that guides me in that kind of emptiness that I form at the beginning of the task. when I face the abyss of white canvas I superimpose my nervous sketch, within this primordial some spots, which will go determining the rest of the colors. At the point where the fabric is almost covered, I must stop and not see it for a long time, it is a hopeful break in which I feel I have a promise waiting paint. then I go back to this with curiosity, as if seeing it for the first time, in this instance, however, intensified, tone it down or retain colors and shapes. I tend to intervene it as little as possible and retain many of the lines given in the beginning.