My painting is a reductionist. I work with only three elements: background (empty), figure, and composition. It doesn’t even have a specific theme or meaning, it’s open reading. And these three elements are at the service of Beauty and Spirituality ex- clusively.
Why reductionist?
In the novel Crime and Punishment, for example, Dostoevsky tells us everything that happens inside and outside the cha- racter and the action, so that the reader can only passively enjoy the story. On the other hand, in a Japanese haiku, with a few words the poet creates a universe where it is the viewer who must unite them, actively
becoming a co-author of the work. This is why my work is intended to be like a hai- ku. Similarly, for me, an artist is the subject who cooks a plate, but it is the viewer who must eat it and do the digestion for himself; it is the only way that art feeds us.
Why beauty?
The laws that govern Beauty are disco- vered, not invented. The Golden Ratio, which exists in nature, is a perfect and mys- terious proportion because it participates in everything created, it is something like a Di- vine mark. When the Greeks studied it, they took it as the canon of perfect beauty. It is a law because it is universally applicable, and we see it as beautiful because we participate
in it. Kepler called this number the Divine Proportion because it contained the beauty that God has given to things.
Why spirituality?
Spirituality but in the most primitive sense of the concept. One of the first religious manifestations has to do with art and ma- gic. The man of Cro-Magnon represented in the caves everything he wished to be gi- ven to him by the deities. I can say that my paintings are prayers, and, like the cave- man, I paint what I want to possess. They painted their desires, and I represent mine, which is an ideal, serene world, where they talk about the
Beauty is a synonym for the Absolute Good.