Dali’s world helped me and provided me with opportunity, because painting with an artist of such a profound and personal pictorial language as is Dali’s realism is deeply gratifying, and it broadens ones horizons. (…) But I do not want to live it from a conceptual point of view, hence the need to cut my umbilical cord. For me painting is a way to being, of living, of perceiving life; which is why it would be absurd for me to live in the body and soul of another person.
Now I’m afraid of not breaking anything, my work and I understand each other very well, we are the same and I am glad, but I do not want to be so happy, I want to be bestial, I want to go back to the beach where the ocean begins and seek the horizon to see what lies beyond.
I often use pure pigments that I dilute with different materials, such as vinyl or other solvents. I also apply marble powder and carborundum. The media varies in terms of the piece. I believe that, aside from the aesthetic, the structural contribution of the piece is also important in order to communicate its spirit. I like being an alchemist.
There are works that impassion me and I have not yet ventured in an incursion upon them or an attempt to unveil their spirit. Deep down, for one reason or another, the pieces that I have presented have awakened my interest and I have dared to expose them.
I have had several fathers, I am Mediterranean and I come from very clear and complex cultural bases; there is a miscegenation of cultures in my blood that enriches me and opens me to accept everything, be it the romance of the baroque or the renaissance. I have drunk from the waters of Hans Memling, Hieronymus Bosch, Vermeer, Michelangelo, Tiziano, Velázquez, Goya, Cezanne, Kandinsky, Picasso, Miró, and Dalí, with whom I had the fortune of coexisting.