The City narratives and its system of inner transformation such as its human component are aesthetically and discursively represented in my work.
In this works a sense of non-territoriality seems to clash with the Maps, places and patterns which preceded the rapid expansion Practices and its advanced and modern traces which begun to take place in the beginning of the 20th Century. Such traces replaced the Nineteenth-Century Model of many cities for initiating relations between local and global.
In today’s world the edification scene is a spectrum that varies rapidly in time, which calls for adaptation and mutation. Because of a series of belligerent, political and economical reasons, cities have experimented structural changes, in a contract with powerful conventionalities such as agreeing and belonging to the globalized world. I had been noticed such rhythm, the speeding urban process, creating a visual proposal which distances myself from evidence and emerges from traces, lines, colors and stains, a personal vision about time and space variations reflected in today’s urban structures.
The relationships between stable and mutable, between permanent and ephemeral, while building a reflection space about the limits of domestic elements within a moving scene into an undetermined and generalized space, open to endless directions which exceed the architectural plan-view. Through such technique, perspective amplification, I states the territory crisis as a unity within time, becoming the architect of eternal transformation.
The invalidation of the local, favoring the global territory, as if the dividing or geographical lines would be displaced by the globalized model, understanding urbanism at a parallel level to the interior in a scene guided by the postmodern access. Finally, the large canvas format act as a vehicle to the origins of landscape paintings, due to its long horizontal format, alludes to a media tautology as another strategy to board the intersections of the city in the pictorial field.
Finally , the module appears as the symbol of a fragment, of fusion, as a tool that intertwines a modifiable total, the module is, in itself, a mechanism allowing for infinite results. In this sense, the module’s ontology does not only pertain to the visual arts but to its daily use as well, its sustains in the poetry of possibilities, to the undetermined, the destruction and re-building of a never ending total.
My work is about a new proposal for the urban plot depicted mainly through the art of painting, but a photography containing painting and graphic , indicating from this media-merge an analogy to urban hybrid systems and the intervention of several visual representation media.