Serie: Large Format Artworks

Technique: Latex on canvas

Size: 190 x 130 cm

Year: 2007

It is a pictorial version of a musical work of my authorship, written for violin.

Both works recreate the experiences and states of mind that I went through while within the walls of the medieval city of Carcassonne, France, in July 1997.

At that time I wrote the sensations I felt, and these words give an idea of the subjective world that I try to capture both in the musical work and its equivalent in painting.

“… The atmosphere envelops me, transports me beyond the lash of the present. The walls tell the story of their lives ... and their deaths.

Far away, the spirits that once inhabited this site, sing a soft melody that is installed in my memory, and the clear, ethereal, weightless and subtle image of a woman nests inside me, recording her soft voice on the walls of the temple of my soul.

Yellow-ocher and white mushrooms sink into the infinite hollows of the rock.

A dog barks. I hear footsteps. And my sky is going, perhaps nowhere, perhaps it hides, already asleep, in my retina, like that dove that huddles in one of the columns of the nearby church.

The sky has reddened, and a shutter snaps shut on one of the towers. The night is announced, between a macabre past and a future, certainly uncertain.

Crickets and birds. Neon lights illuminating the medieval ceilings. Noises of cars and motorcycles mixing with horse hooves. Children who run and laugh between the walls that protect the past. Doors that closed stories weave the threads of an unfinished age.

At night, fast bats, showing off their speed, do pirouettes at my side.

The colors of the times merge, like the colors of a sky at sunset, a sky that vanishes in my memory, absences warm me, my sighs cool.

 … And there God continues, as an eternal witness, who treasures all that time has taken. "  

Serie: Large Format Artworks

Technique: Latex on canvas

Size: 100 x 150 cm

Year: 2007

Beauty is an abstract and subjective concept or quality (what for some is beautiful for others may not be) present in the mind of human beings that produces an intense pleasure to it, and comes from sensory or idealistic manifestations.

In its deepest sense, beauty can engender an outgoing experience of positive reflection on the meaning of someone's own existence.

 "An object of beauty" is something that reveals personal meaning. Thus, the observation of this quality generates in the spectator an unconscious pleasant sensation, which dispenses with the will.

Beauty, seduction, grace, intimacy ... This painting is the simple reflection of an instant, a gaze that looks out onto the natural nakedness, without prejudice or preconceptions, but rather placidly, playing with the lights and shadows in each curve and each volume of the femenine body.

Serie: Large Format Artworks

Technique: Latex on canvas

Size: 100 x 150 cm

Year: 2007

"The most powerful man is the one who is totally master of himself" (Aristotle)

This painting shows the image of a man from behind, with a background loaded with force in the distribution of color.

His body feels tired but not downcast, fatigued but not resigned since his body posture gives an idea of regret, of uncertainty, of inner struggle.

Even without showing his face, it can be assumed that he has a sad but unbeaten look, but without elucidating the reason for his distress.

As the writer Hugo Wast said: «Much deeper and more mysterious than the sky is the heart of man. The eyes that see millions of stars cannot discover a hidden thought. »

It is up to the will and subjectivity of whoever observes it to appropriate the idea of this painting, feeling in it the inner strength that makes man move forward.

"That's why we don't lose heart. Even as our outer man is crumbling, the inner man is being renewed day by day. " Second Letter to the Corinthians 4,16

Serie: Large Format Artworks

Technique: Latex on canvas

Size: 100 x 100 cm

Year: 2007

Arising from the idea of a "varied reflection", this painting poses the contradiction of an "asymmetric symmetry", of variation in repetition, where lights and shadows define different contours of a woman seen from behind.

She, anonymous, shows herself in two different ways, which evoke different states of mind, different ways of facing life events, opposites that compensate and enrich, even in contradiction.

It is, perhaps, an intimate representation of the dual aspects that inhabit female psychology, of the dark and the bright within each one, of what is protected and what is shown. It is up to each one to choose which is which, which woman is seen and which woman is hidden ...

Serie: Large Format Artworks

Technique: Latex on canvas

Size: 190 x 290 cm

Year: 2007

Interior of Nüremberg Cathedral and “Praying Hands” by Albrecht Durer

In the 15th century, in a small village near Nüremberg, lived a family with several children. In order to put bread on the table for everyone, the father worked almost 18 hours a day in the coal mines, and in whatever else came his way.

Two of his sons had a dream: they wanted to dedicate themselves to painting, but they knew that their father would never be able to send any of them to study at the Academy.

After many nights of conversations, the two brothers reached an agreement. They would toss a coin into the air, and the loser would work in the mines to pay for the winner's studies.

Upon completion of their studies, the winner would then pay the studies to the one who stayed at home with the sales of their works. Thus, the two brothers could be artists.

They tossed the coin into the air one Sunday as they left the church. One of them, named Albrecht Durer, won and went to study in Nuremberg.

Then the other brother, Albert, began the dangerous work in the mines, where he remained for the next four years to pay for his brother's studies, who from the first moment was a sensation at the Academy.

Albrecht's prints, carvings, and oil paintings became far better than those of many of his professors, and by the time of his graduation, he had already begun to earn considerable sums from the sales of his art.

When the young artist returned to his village, the Durer family gathered for a festive dinner in his honor.

At the end of the memorable evening, Albrecht stood in his place of honor at the table, and proposed a toast to his beloved brother, who had sacrificed so much working in the mines to make his studies a reality. And said:

«Now, my brother Albert, it is your turn. Now you can go to Nüremberg to pursue your dreams, I will take care of all your expenses».

All eyes turned expectantly to Albert's corner of the table. But the latter, his face wet with tears, stood up and said softly:

«No, brother, I can't go to Nuremberg. Is too late for me. These four years working in the mines have destroyed my hands.
Every bone in my fingers has been broken at least once, and the arthritis in my right hand has advanced so far that it cost me even I work to raise the glass during your toast.
I could not work with delicate lines the compass or the parchment, and I could not handle the pen or the brush.
No, brother, it's too late for me. But I'm happy that my deformed hands have served so that yours have now fulfilled their dream ».

More than 450 years have passed since that day. To pay tribute to the sacrifice of his brother Albert, Albrecht Durer drew his brother's battered hands, palms joined and fingers pointing to the sky.

He called this powerful work simply "Hands," but the whole world changed the name of the work to "Praying Hands."