Our body is our sole possession. With it we begin our lives, and with it we end them. Any violation of the person's body is, therefore, repulsive. Extermination, rape, torture -- even negligence -- are forms of violation -- of usurpation.

Artists, as social beings, are part and parcel of a history that determines them and their work. Being part of history, artists and their work turn into political facts. The works of the artists are also their autobiography, a revelation of their intricate subconscious.

In my work, I can see my exodus and my disappearance as an individual. Yet, I also see my work as a rebirth in a new social context which enriches the vision of my reality during the years I lived in my country. I don't say that I've forgotten my past, but being away from my original place in society allows me to see and depict in a more objective and less passionate way the painful reality of the place I left.

I've always worked with the human body in series. I've evolved from being a figurative painter - who never allowed himself to fall into hyperrealism- to being a narrator of the nightmarish, symbolistic, urban reality that surrounds me and my contemporaries, to my present expressionist gestuality in which -almost obliterated-the human body continues to be the heart of my work. I am now taking advantage of the expressionistic dynamics that exist in the relations human beings keep with their bodies.

There are very important series in my artwork: The Missing, The Exodus, Animus Corpus to name some of them. They are my vision of the real or metaphorical displacements and disappearances of individuals and entire populations, so common in our time by the fact of the human being becoming an anonymous number in the vast and amorphous reality of the modern city. We lack the perception of one another in front of our own ayes or we perceive the other fellow humans, just as a blurry presence, an insinuation of a human form, unapproachable in its continuous exodus from one place to another. We have become missing as individuals, we have negated each other, and we have expatriated each other. I create compositions where form is in constant flux, always becoming, changing into alternative spaces that allow ephemeral escapes through a geography of planes that could also be mental spaces. The body then is a semi-abstract presence, a vital pulsation, a heart becoming, propelled by its owncentrifugal force. The body seeks refuge in the plane, inhabits it and escapes it almost immediately.The amorphous presences in my compositions are, then, phantasmagorias, lost identities, and a pictorial space of forgetfulness.

I start my paintings simply by applying the materials I use in a free manner. It is an invasion of the space with the gesture of very expressive movements dictated by my unconscious, thus liberating images already stored in my mind. It is my intention to create a visual unit, where those forms in motion, inhabit each other as well as the spaces next to them, all attached by some kind of umbilical cord. I work in series, like photograms in a movie, windows in a comic strip or chapters in a novel. It is an interconnected story where I am the only narrator and where the public can find his/her reflection in that continuous tale about the disappearance and exodus of the modern human being.

Recently, my works begun to give way to three-dimensional creations where light, sound, written words and recorded digital or photographic images are integrated with more traditional tools such as brushes, pencils, and pigments. The constant transformations in my work are also the changes operated in me as a living individual touching, seeing, tasting daily propositions of life and death. My work allows me to establish a communion with my world. It is a path, my own path, in which future discoveries I can only foretell, as in the gaze of the loved one the lover foretells the promise of the body.