In contrast to the fragmented and accelerated pace of contemporary life, “Galaxies” is an invitation to reclaim attention through the contemplation of infinite, non-linear time. This series of abstract paintings utilizes vibrant spirals and elliptical forms to propose a vision of time as a cosmic cycle, where past, present, and future dissolve into a continuous flow.
“Galaxies” explores the cosmic scale to connect with universal human experiences of wonder and belonging, reminding us that, within the immensity of the spiral cycle, patient observation is the only thing that restores the intensity of the present moment. The use of slow-drying oils and acrylics emulates processes of geological or stellar formation. Iridescent palettes transform according to the viewing angle, demanding active observation. The spiral functions as a visual metaphor for eternity: a curve without origin or end that dilutes linear chronology into a meditative experience.
The BASILEA series constitutes a pictorial investigation into the phenomenology of the soul and the persistence of myth through the historical figure of Arwa al-Sulayhi, the queen and saint of medieval Yemen. Through oil on canvas, the work seeks to materialize the "invisible kingdom" of energy, utilizing color and form as vehicles for metaphysical transcendence. The figure of Arwa acts as the series' center of gravity, embodying an absolute feminine power that amalgamates political strategy, mystical devotion, and unfading beauty.
In conclusion, BASILEA is a statement of principle regarding art's capacity to inhabit both the body and the territory, elevating physical existence toward a dimension of spiritual permanence.
My work is born at the intersection of visual arts and philosophy, deeply inspired by Milan Kundera’s concept of lightness. In the series Eternity, I explore the paradox of human existence: that constant tension between the weight of our responsibilities and the "unbearable" freedom of a being that has no return.
Eternity is the capture of a moment of absolute fulfillment. It is the affirmation that the self is capable of inhabiting total freedom through pure emotion. However, this freedom comes at a cost: fragility. The flowers that accompany the figures symbolize a beauty that, by being ephemeral and light, acquires an eternal value. My work seeks to allow the viewer to experience an existential relief, where time ceases to be an oppressive line and transforms into a sphere where we can, quite simply, be.
This series of works is born from a deep devotion to Miami Beach, a city that I do not merely inhabit, but feel as an extension of my own identity. Through the iconic lifeguard stands, I seek to capture the vibrant essence of this ecosystem: the exuberance of its infinite skies, the rhythmic joy of its people, and that unique light that transforms color into a pure sensory experience. I use color not just to describe the landscape, but to evoke the vital energy of Miami. Every hue is a note in a symphony of gratitude toward a land that celebrates life under the sun.
However, my gaze goes beyond the tropical surface. I draw inspiration from the words of Pablo Neruda: “I love you as certain dark things are to be loved, in secret, between the shadow and the soul.”
Although my canvases overflow with color and luminosity, the heart of the work is that "secret" and personal love. The structures of the stands rise as solitary sentinels, impassively observing the pulsating rhythm of Miami, standing as an emotional refuge between the tangible (the wood, the sand, the sea) and the intangible (the feeling, the memory, and the spirit of the city).
The Hurricane series, a collection of 33 monochromatic paintings, was born from a profound exploration of the indomitable force of the elements. Commissioned in 2013 for the Hotel Preciados in the heart of Madrid, this body of work proposes a dialogue between the stillness of the architectural space and the chaotic dynamism of the atmosphere.
Working exclusively with a palette of whites, grays, and blacks was, for the first time in my career, a revelatory challenge. By setting aside color, the narrative shifts entirely toward texture, depth, and pure emotion. This chromatic restriction allowed me to capture the vibrant essence of nature in a more visceral way—an experience that remains a vital pillar of my artistic practice today.
The central concept of the series is inspired by the energy of perpetual motion: gravity-defying tornadoes, the erratic behavior of the sea, and the density of clouds in the midst of transformation. This visual study connects with the very root of the word: the term "hurricane" finds its origin in the Mayan word Jun Raqan, the god of wind, storm, and fire.
My work is born from a fascination with the aesthetics of desire in a deeply erotic country, yet it seeks to shift that pulse from the explicit toward the poetics of daily life in Brazil. This series of paintings —exhibited at the Fundación Telefónica in Madrid in 2010— is an exploration of the intimacy found in minimal gestures: resting under a scorching sun, a casual brush of skin on a crowded bus, or the sound of the jungle within the kiss of two lovers.
In this series, the body is the absolute protagonist. By considering skin as Territory, the body becomes more than an object of desire; it is a vessel for stories. I am interested in the Brazilian skin as a canvas where climate, labor, and identity manifest through texture and color. My intention is to demonstrate that Brazilian sensuality is not an isolated event, but a constant atmosphere that permeates both the domestic and the public spheres. I use a palette that evokes the humid heat of the tropics. The shadows contrast with Brazil's 'devouring light,' which tends to flatten forms and highlight the rawness of reality.