Breaks

Concept

The paintings aim to establish the relationship between matter, image and memory. Thus, at the first moment, the choices of the images for these paintings will not be made randomly, as they will present a strong load of affective memories, linked to the artist's memories. The painting then appears as the result of updating these memories, whose relationship between materiality and images is part of memory. The painting thus ends up gaining more body, becoming more matérica and in turn, the images begin to suffer interference with the materiality of the painting, which ends up altering these images, thus resignifying the memory contained in them, thus prolonging the past in the present recontextualizing these images-memories. Thus arises an artist of the landscape of memory whose paintings become testimony to the affective riches that the artist offers to the viewer with the intimacy of those who show a diary.
Regarding the artistic process, it can be said that his paintings in a phase called "Materiality and Gesturality" balance materiality and fluidity in the construction of the pictorial field. The colors gain their own expressive potentialities, emerging a chromatic mass, which expands breaking the physical limits of the work, creating tactile-visual sensation. Thus, the image tends to deform and distort, due to the gestuality, the accelerated rhythm of the brushstrokes and the approximation of colors. The result of this process is a painting in which the pictorial matter begins to have its own existence.