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My current practice explores the intersections occurring between presence and representation in painting. This concern is embodied through the production of acrylic paint sheets in which I combine the language of painting with the active use of the visual and tangible properties of its matter.

The production of these acrylic pieces inverts the conventional processes, by painting backwards onto a sheet of glass and peeling the paint off. This procedure allows me to reconsider diverse aspects of painting, such as the relationship between image, pigment and support.

In some of my works, imagery appropriated from the web is edited, combined and painted within the flat surfaces of my paint sheets, created without the traditional support or the characteristic relief existing in conventional painting.

My appropriation of the images extracted from the Internet is originated in a Google search of an specific topic, which leads to a path of hyperlinks when clicking successively on the button “related images”. These never ending nets may encompass a huge range of different themes, that are linked through formal or conceptual features. From those searches, I generate a visual vocabulary that is the base of my compositions, in which I simulate some of the strategies that the Google search engine employed to interrelate that set of images. This parallelism with an artificially generated system helps me questioning how we understand the formal attributes of pictures and how we read them.

Departing from those figurative compositions, I have also developed a series of paintings in which the representation is distorted or completely lost, due to my particular interest in their formal attributes and the way they interact with the contorted matter of the paint sheets.

My questioning of the nature of painting is also performed through a range of different resources, such as the use of translucent areas, the contortion of the paint sheets and the reinterpretation of elements such as canvases, stretchers or zippers. In my work, painting is simultaneously understood as an object, a procedure, a trace, an image and a subject.

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