This series investigates how we as a presence becomes visible. Portraiture does not exist here, in order to become state. The figure does not begin from a prior construction; it emerges over a white field understood as the space of infinite possibilities. The work is carried out in performance: liquid paint applied with a palette knife on a suspended, moving canvas. The image is born from thousands of contacts; form is not fixed—it organizes itself, it arises.

Reading unfolds through distance and movement. Up close, the surface functions as a cartography: accumulations, strokes, rhythms, zones of emptiness, which allude to the small units that compose us—thoughts, emotions, moments, etc. A reading that is intimate and invites one to get lost, as in small abstract worlds. From afar, that weave integrates and the figure appears as state, where posture, weight, and direction are the materiality of instants, yet they are interpreted by the viewer, since the figures themselves are only the trace of hundreds of contacts accumulated in different areas. The work seeks to carry the narrative toward the physical experience of perception.

Thus, being exists and cohabits immersed among different states of alchemical evolution, as a proposition of the reality of the self and what surrounds it. It calls us to assimilate that the subject does not exist alone nor independent from reality. It proposes states that enter into dialogue with the audience.

Traces arbitrarily homogenized into masculine abstracts do not point to gender, but to the homogenization present in today’s society, which tends to standardize everything. Here there is no denunciation of particulars; there is a denunciation of the lack of them. It does not fear to pose an inquiry into our own postures before certain established conventionalisms.

Works that are crossed through by their scale, that coexist and dialogue. A body of work that happens between the spectator’s body and the appearance of the body on the canvas.