I was asked:
What is your artistic approach?
In May 2018, I answered:
Life gave me the chance to wind back the clock and I took it. After travels, exoticism, academic and professional achievements – when art was an educated extra to my educated life – I became the boy striving to paint that I once was. Since then, my educated life serves my purpose in art.
My studies are rooted in medical science. I lived, worked and walked in equatorial forests, savannas, metropolises, and urban slums. I heard the voices of the voiceless and I looked at their motionless horizons. Those voices and horizons found a place inside me and amplified my deepest feelings. Now, I seek to represent them in order to confess myself.
Medicine taught me how to blend knowledge and conscience: an imperative to respect what is objective and to complete it with senses. That imperative also permeates the capacities of my vision and expression. What I see and how I see in art put the same detached/objective and empathic/lyric components together. I instinctively chose to represent the existence and to look into it. The same as I had to root my medical practice in social sciences, I rooted my art in the inner nature and determinants of existence, of the scenarios and horizons that struck me.
I am attracted by the form and function of such existence. I aim to pierce it in order to touch it, to appraise it, to learn its objective nature and mechanisms, to know it. Senses guide me throughout this close-range (act of) seeing, as I probe the deepest nature of existence and I strip the flesh from it. Senses tell me where to find such existence, where to cut, slice and incise, so to discover what the eye saw in the first instance and to print an emotional picture on the canvas.
The result is histological evidence of existence, offered on a slide for the microscope at the laboratory, exposed in a theca, classified, a basis for comparison of future research.
Unframed pieces of fine cotton canvas, prepared with three layers of gypsum, support my current works. The fabric offers me strength, portability and flexibility. Portability is a relevant component of my art, fitting the logistics of travel. The canvas has a profoundness to be explored throughout its fabric: its geometrical structure has multiple layers to be painted as the act of creating goes deeper. Also, its classical, ordinary nature gives method to my analytical research: it is not a shredded piece of cloth, but a symbol of rigorous painting. Canvases have the approximate proportions of a golden rectangle, in the juvenile idea that a pinch of harmony could adequately balance the generally dark nature of the represented existence.
Colouring pencils serve my research for a number of reasons. A colouring pencil, with its hard nature, is both a tool to lay colour and a tool to dissect the material, revealing its nature while leaving existing colours undisturbed. It does not mix up with other colours, but it rather dissects them. They become scalpels of the act of creation out of their own material and they facilitate the manual act of painting/revealing. They can be handled with varied pressure to mark and scratch the fabric at different depth. As more is drawn, the wax (from pencils’ leads) agglomerates into patches of substance, offering material for further probing and dissecting. They also offer me a comfortable sense of familiarity, by recalling art classes at school. This supports me to face the deepest and most disturbing nature of the investigated existence and feelings.
Support (canvas) and material (pencil) become intimate. Currently, I am investigating such intimacy, in order to melt them into a unique object, a unique piece of evidence.