In drawing, the research is essentially based on the human countenance that originates from pictures of 1900 in which there is a specific research of the human soul that is symbolically represented by its figure. Information about its character, gender and details of the subject’s individuality are reduced to essentials to allow the viewer his or her own interpretation.
The detail of the subject’s description is left in the background allowing shapes, colours and gestures to support a missing pictorial definition. It is essential that the specific characteristics cannot be recognised but only the infinite possibilities that the artistic medium gives by means of working with matter. In it, you are immersed within the randomness of the gesture as well as in a combination of tension, research and technique that merge in a single unpredictability of execution.
This is represented by a calibration of the emotional gesture and drawing experience that bring the technical expressive sensibility to a language unbounded from any deciphering and which is free from any pattern or pictorial fault, both of which the not contemplated.
The drawings are characterised by the prevailing use of crayons applied with the finger pads. The work focuses on a depletion of the sign and a minimisation of the shapes by elaborating a symbolic abstraction. These drawings of about 50×40cm focus on the search for a personal language mediated by the intimate knowledge of drawing and the strong visceral depth experienced through the act of doing.
Often they are faded figures drawn with crayons and graphite on white paper. They disappear and re-emerge filtered by the unfathomable side of the creative nous.