Stumbling voluntarily
for the pleasure of catching up

This is the meaning given to the presentation of my last works which, in the extension of an intuitive approach, is, come with more freedom to emphasize the importance of the faculty of adaptation that nature shows us.

After nearly twenty years of studies, observations and artistic projects in the Amazon rainforest, the desire to make my pictorial work an abstract and intuitive approach has become obvious. If the figuration accounts for a frozen image, the abstraction gives its true relief to things, that of leaving everyone the opportunity to create his environment.

Pictural flexibility can be compared to natural evolution, a line is advanced as a stream flows, then a spot disrupts the stroke of this line like a stone disperses the watercourse. The way in which water will recover the stone accident is a demonstration of immense adaptation because water will continue on its way. Here, painting will be approached with this same logic of adaptation, and thereafter causing the accident will become the game allowing to maintain a pictorial naivety, a freshness in the composition. Cultivate this force to overcome obstacles so as not to turn away from the essentials, as Picasso said: "When I have no more blue I take red." Know how to pause the brain to make room for the intuitive "I am not looking, I find." Feed on a pictorial sincerity, give the line an innocent freedom that will make its presence a strength.

Work blind imposes the accident because it releases the line of visual control. It allows work on the memory so on a figurative basis not frozen, we will be able to paint not a view of the forest but more freely a walk in the forest, just like a nude would become a love story.

This learning of the environment reveals at the level of the form a writing without re-presentation, a gestural imprint of observed movements, without temporal reports or scales, the illustration of retained memories. Thus these compositions combine hues and perfumes, noisy and empty rhythms of sounds, solid opacities and liquid transparencies, sharp edges and fuzzy contours. In the topics discussed the bright and contrasting colors are directly derived from my attachment to the tropics. The traces left by the adhesives mark a clear presence of’existence in the told story, like the traces of hands left by men in caves to validate their presence through the illustrated scenes.

The compositions are worked with lost edges which, unlike a centered composition, presents a part of a work without limits, leaving to each one the possibility of a story on the periphery.