YOUR WORK AND ART IS GENERAL AND CAN BE VERY AMBIGUOUS AND OPEN TO INTERPRETATION. AT THE SAME TIME, YOU ARE INSPIRED AND INFLUENCED BY SCIENCE WHICH IS VERY STRUCTURED. WHAT DREW YOU TO THAT SPACE IN BETWEEN THE TWO?
I enjoy the freedom that stain performs on the canvas, which leaves unpredictable results, but also becomes a kind of guide, a “map” for the final composition. In these first layers I don ́t really have control on the painting, further than the colour I chose and the density of the paint I’m using. 

After this, I begin to define and generate more rigid planes where a game of levels and visual dimensions begins, a three-dimensional optical effect with which I try to imitate the shadow that an element with real volume generates and floats on the bottom base. I believe when these two worlds of freedom and control meet is when this contradictory duality manages to function, complementing and merging one another.

STRING THEORY HAS A LONG HISTORY OF BEING DIFFICULT TO PINPOINT AND DEFINE. DO YOU FEEL THAT AMBIGUITY LENDS ITSELF WELL TO BE INTERPRETED WITH ART?
I think art always has space for ambiguity, although as artists we try to define each element that appears on the piece, the spectator can have a completely different reading, even opposed to the meaning we were intending to give. Our unconsciousness also works making us express through strokes or colours we use, a lot of times without us knowing what we are really doing. 

About the String Theory, sometimes our studies, references, or what we use as a base for our art thematic, is much more complicated than what we really want to express in the piece. While it is a theory and from that perspective, an important point in the investigation, I don ́t think it ́s necessary to understand it completely, but to study, read and identify the ideas and inspiration that arise from the theory. Art goes beyond the theoretical support, in some ways it manages to go further than logic. It doesn ́t have a determined sense, but there ́s still something inherently human that drives us to artistic creation, intuitively, without a particular aim. My art tries to portray a little bit of that inexplicable drive, that can ́t be captured through a scientific theory or understood by a mere rational framework, but at the same time, becomes obvious in the experience of the world.

YOUR WORK IS FULL OF MOVEMENT AND FLUIDITY, BUT YOU DO INCORPORATE DETAILED LINE WORK THAT CONTRASTS THAT. WHY IS THIS RELATIONSHIP IMPORTANT TO YOUR WORK?
In the first layers of my work, one can perceive the looseness of the stain, with its watery transparencies, the unpredictable, random background of existence. Then comes the second layer, where arbitrary strokes peek out, each one with their own shadow that seem to line the stains, speeding up the movement. Here’s where the projects blunt, the eagerness, the probabilities. 

In the third layer, there are straight solid lines, proudly framing the scene. Those are the rigid and static schemes with which we aim to understand and control the surrounding world, although at the end of the day, it is clear that the most essential things cannot be contained in this restricted paradigm.

Reality is much more fluid and liquid, it is constantly overflowing this framework that we stubbornly impose, resisting the dominance.

WHAT IS THE ROLE OF COLOUR IN YOUR WORK? MUCH OF THE SCIENCE THAT INSPIRES YOUR WORK DOESN’T RELATE TO COLOUR, HOW DO YOU DETERMINE THE WAY IT IS PRESENTED?
Colour plays a fundamental role in my work, it generates different planes that also have different paint densities, so visual fields are generated from fluidity to maximum density in upper layers. The upper layers contain more pictorial matter and stick out upon the faint and translucent elements of the lower layers. It is finally a way of composition that achieves a better result in the portrayal of depths and dimensions. 

I also use contrasting colours to create tonal vibration. In a more experiential way, colour is a direct appeal to the viewer sentiment. Theories in which I base my work can be without question very stiff, however, the expressiveness of art will always go beyond the rigid frame of science. Colour evokes feeling, and that is what I’m going for, not reason, but to transcend these explanations; I’m wanting to reach something science can’t access, because of the simple fact that it is science and not the experience of being human.

WHEN CREATING YOUR WORK DO YOU SEE YOURSELF AS A SMALL PART—A MICROCOSM—OF THE SPACE YOU ARE CREATING OR ARE YOU AT THE CENTRE OF IT CREATING THE SPACE—THE MACRO?
Although I’m the one that creates this space and a pictorial world from outside, there’s an important part of me in it. I involve myself unwittingly in some aspects with my emotions through the gestures and how it’s witnessed in the work—and part of my current experiences appear in it. But I don’t notice all of that right away, I have to take distance from the piece and analyze it from that point of view. Here’s where I notice once again that I don’t have complete control on my works, and that when I finish them there are always new surprises that weren’t exactly deliberate. The work emerges from me, I am the center, but once it’s outside, in the world, it completely transcends me, and then I become just a small part of it.



YOU MENTION IN YOUR ARTIST’S STATEMENT THAT THE PASSAGE OF TIME HAS A SINGULAR DIRECTION. AS YOUR WORK IS SO MULTI-DIMENSIONAL HOW DOES IT WEAVE ITS WAY AND INFLUENCE IN YOUR PROCESS AND END RESULT?
Time also plays a role in the layers that build my work, because in the process of production there are undefined lapses of time that are not under my control. For example, in the course of the drying of the first stains, the first layers sometimes take several days to dry. Other times, I interrupt this natural process of drying, leaving it halfway. But every new layer that lays on the one before, needs a certain drying time to obtain the results I’m looking for. I try to control all I can about this process, but I’m never truly sure that it will work as I expect, changing every time the final result.