My work is a continuation of imaginary portraits. Face or portrait is the center of the table, everything revolves around only exists to try a diversion without ever succeeding. Rather, clothing patterns, animals, the bottom of the table, all this illumination is secondary. The only importance is the face that is the great subject of the painting.
If time permitted, I think I'd also landscapes as did the painter Balthus, because I like all the major themes of painting.
I speak of Balthus but I could mention lots of other artists who have me just as expensive. One characteristic of Balthus is to always painted under the influence of masters like Piero Della Francesca and Poussin or in full this surreal time when we finished to shoot bourgeois art, figurative and firefighter.
While in New York in 1947 invented the Jackson Pollock drip painting, Balthus was painting him again and again naked. Thus, this painting can survive there, being a personal and timeless creation that must have the ability to be surprising and quality while not focusing on any mode.
Quality is the beautiful or monstrous emotion that results from work. Another feature of this Balthus was having a great imagination he has not mastered and that is also the strength of the painting is the ability to convey something not controlled by the painter.
Paint was built with the help of someone who knows the look, if one who knows the look sees nothing, then the paint is to throw.
It is also a craft painting, I am craftsman when I paint, I need technical things, carefully manufactured with care and delicacy.
I need the manual skill of the craftsman who first spent his youth learning his craft. I am extremely fortunate to have the job in hand, I have to use it, refine it over time.
I chose this old mode of expression is painting, because it is in the logic of my career.
Works of art in position