VISUAL ART
This is a constantly changing phenomenon that helps to make the work more alive and responsive to changes in the environment in which it is found, thus establishing an ongoing dialogue between the dimensions that characterize the life of every human being: SPACE – TIME – PLACE.
I am fascinated by the ways physical spaces—towns, villages, homes—shape the human psyche. Ancient civilizations offer powerful examples: their cities, settlements, and sacred structures were built according to cardinal orientations, astronomical observations, and interpretations of the Celestial Sphere. When translated into visual form, these concepts become circles, squares, points, lozenges, labyrinths, and fortresses—geometric systems that have long defined the environments in which human beings live.
These elements form the foundation of my artistic research. I explore the relationship between the human body, understood as a solid volume, and the three-dimensional “City” it inhabits. What began years ago as a study of figurative portraiture gradually evolved as geometric shapes began merging with the body-form, generating new structures that blur the boundaries between figure and space. Through this process, the body sheds its purely physical identity and takes on a new, abstracted presence.
Although painting traditionally operates on a two-dimensional surface, my work seeks to expand that limit. Alongside perspective, I use layered paper modules to introduce tactile volume, allowing geometry to interact directly with light and cast shifting shadows. These changes make each piece responsive to its environment, creating a living dialogue between the dimensions that define human experience: SPACE – TIME – PLACE.
I am fascinated by the ways physical spaces—towns, villages, homes—shape the human psyche. Ancient civilizations offer powerful examples: their cities, settlements, and sacred structures were built according to cardinal orientations, astronomical observations, and interpretations of the Celestial Sphere. When translated into visual form, these concepts become circles, squares, points, lozenges, labyrinths, and fortresses—geometric systems that have long defined the environments in which human beings live.
These elements form the foundation of my artistic research. I explore the relationship between the human body, understood as a solid volume, and the three-dimensional “City” it inhabits. What began years ago as a study of figurative portraiture gradually evolved as geometric shapes began merging with the body-form, generating new structures that blur the boundaries between figure and space. Through this process, the body sheds its purely physical identity and takes on a new, abstracted presence.
Although painting traditionally operates on a two-dimensional surface, my work seeks to expand that limit. Alongside perspective, I use layered paper modules to introduce tactile volume, allowing geometry to interact directly with light and cast shifting shadows. These changes make each piece responsive to its environment, creating a living dialogue between the dimensions that define human experience: SPACE – TIME – PLACE.
