Estado del Climax

My work is my own story, is my intimate biography, my relationship with the cosmos, with time, with the repetitive universes. With the reason for being, with the unknown God we feel. Images of secret places from my youth and childhood arise, learned only to be remembered now. And these memories bond with new stories and many other experiences that also want to be portrayed. And I feel that my personal story is one with the whole story. And everything cohabits; and the opposite only reaffirms and different is only part of the same and that all this is happening, but not at different stages, they are components of the same entity, the same being. Patterns that are repeated in both macrouniverses and microuniverses. Harmonics that are the great metaphor without which there would not exist what is there, what is here, nor what is inside. There's when I realized that everything is dual, and if I am the one is because I am the other. Inside of me cohabits the good and the evil, beauty and ugliness, I am the feminine and the masculine. I am part of the universe and copy at the same time of the same universe and I can not separate abstraction from figuration, because the two create a unity beyond forms and language. I am a dual universe and all my work is a reliable statement about it and I emulate the nature itself in order to tell it. I do not create works to simulate objects or preconceived ideas, my canvases are sensual skins that palpitate when telling a story, that exist, that happen, that I want to touch because they want to be touched, that I want to smell so I can drink their secret aromas. All natures flirt with our senses, they provoke us, they subject us with their sidereal, corporeal, organic and molecular forms. Classical music allows me to understand complexity in a work of art. Those rhythmic and spatial structures that I recognize in a symphony determine my language, as an experience where everything connects in an infinite movement that never ends. Observation is the exercise that enables me to enter into the entrails of the atmosphere, the objects and beings, to understand them and, if so, to be able to replicate them. Everything, absolutely everything is an infinite movement that never stops, it is a law, is the great metaphor and by replicating in my skins, with my manners, and my strokes, I try to provoke an event, a real atmosphere, no longer simulated, it exists. For the music, the atmosphere, and with this the poetics, and it is here, in poetry, where all the embryos of art nest.