Creative process

Material and Surface

My work develops through a layered and intuitive process, where material plays a central role.

Each painting begins with the construction of a surface. I work with oxides, metallic powders, and non-conventional binders, building textures that are both physical and atmospheric. These materials allow me to create surfaces that are not static, but constantly shifting, absorbing and reflecting light in different ways. The surface is never a passive background, but an active field where the image can emerge and evolve over time

Emergence of the Image

Rather than applying the figure onto the painting, I search for it within the material itself. Forms are revealed, partially erased, and redefined through successive layers.

This process of construction and disruption allows the image to remain unstable, always in transition between presence and disappearance. What emerges is never fully fixed, but exists in a suspended state, where recognition and ambiguity coexist.

Scenographic Approach

My background in scenography strongly informs this approach. I treat the pictorial surface as a space to be built, altered, and inhabited, rather than simply represented.

Working in theatre taught me to think in terms of spatial illusion, atmosphere, and transformation. This sensibility translates into my painting practice, where the surface becomes a stage on which materials, textures, and forms interact. The work evolves through a continuous dialogue between control and accident.

Figure and Matter

The result is a painting in which the figure does not dominate the surface, but belongs to it, emerging from matter and gradually dissolving back into it.

The figure is never isolated, but remains inseparable from the material that generates it. It exists within a fragile balance, where presence is constantly negotiated with disappearance, and where the visible always carries traces of what is hidden.