Being part of “super-impositionism”, my work superimposes pictures, textures, drawings, texts, reflections, varnishes, fabrics, etc. 

It also superimposes points of view, symbols and interpretations.   

I place my results on  transparent or uncommon support (plexi glass, glass, film, ...), using light, transparency and reflections as an dissociable part of the artwork. 

I tend to transform these elements which are often abstruse into a coherent image representing different faces of the reality of one moment, of a story or a personality.   

As in a tale, my works are filled with an abundance of half hidden coded elements, which, if you have the keys, can be discovered under different lights and/or repeated observations.   

Commissioned contemporaneous portraits  have become an important part of my work.  In order to let the model´s/client´s feelings and personalities pass through and take all the scene of a commissionned artwork, the artist's own emotions must be put aside. It brakes the process of conventional artistical creation.  I take pictures of them or use their own, superpose them with textures, objects, letters anything that could help characterise what they are, an emotion, a moment of their life, or if the work is a gift for someone, their love. I meet  and listen. I try to become some kind of a neutral confidante for a short time. The resulting work is very symbolic for them, it is subjective, and it doesn’t speak to anybody else the way it speaks to them. It is, or tends to be the projection of their very personal emotion.

 Recently, I have been experimenting with sound and I am working on adding a sound to some of my past, present and future images to complete my work. These sounds, along with a copy of their respective images, can only be found on the web. I am allured by the idea that part of the identity of each work is available on the Web only: it doesn't matter about the voyage which the work will undertake physically, whether it is hung in a gallery, becomes a window which dominates a grandiose staircase or becomes a dramatic image on the wall of a chic nightclub, it maintains the secrecy of its sound on the Internet. It needs the internet to live. This opens a new universe for me, experimenting not only with the image but also with its breath. 

 To keep me close to industry and communications with their many constantly evolving techniques, I installed my workshop in the dynamic industrial district. It helps me track down the possibilities of plastic form.

 I carry my images on many transparents supports ranging from broad acrylic resin panels to glass windows, all of which are exposed to heat, UV and the cold. The technical constraints are enormous but the results justify such a process. The meeting of light and transparency transforms the work throughout the day. Not only does it project colours and create shadows on walls and floors but excitingly certain elements of an image can disappear completely under certain lighting conditions or be modified in a temporary yet significant way altering the reading of the work.

  My quest is Movement and Interaction; to make my work come alive and move as much as possible.

Movement - The interlaced layers and techniques, the light that plays on the polished surface of plexi-glass, showing or hiding some of the images help to bring movement.

Interaction – In the work I try to describe, the reality of one moment, of a story or of a personality, trying to put aside the impenetrable universes, leaving however a part of discovery to the observer.  

 I am not a critical observer, a realistic painter, or an obscure poet, I try to describe precisely. If some of my images seem abstract to you, it usually means that the subject is still hidden from you.