Come into the continents without knocking but with a filigree muzzle.
When a traveller who has arrived in a strange country in fog and darkness wakes the next morning to find spread out before his eyes a fresh and extraordinary landscape, a great sense of elation can enter him which is very much akin to excitement.
The aim of my practice is to move towards absurdity. It is a process of building a new game through inherited disciplines of surrealism and dada.
By putting the techniques of surrealists on painting, music, drawing, collage, film, poetry I create a cultural farrago.
I'm interested in discovering methods of stimulating the imagination such as those advocated by Leonardo who didn't hesitate to throw sponges soaked in different colours at a wall in order to create fortuitous images of battles.
I recognise familiar shapes from the accidental distortions developing from a mix of different media and violent treatment of the surface, like a child being on the plane for the first time, observing clouds and building up an air zoo.
I'm not a mirror reflecting the society. What I simply want from painting is to wake up in a new world where a new poetic language is spoken and a new magical companionship exists between animal, vegetable, and mineral, between the sea, the rain and the stars.
The "frottage" technique was very important in my work because it excluded conscious mental influences (reason, taste, morals) tending to eliminate the active part played by the so-called author of the work.
The idea of being a "so-called" author means that I'm not a creator, I am simply an interpreter (capturing the most peculiar bits out there in nature and upgrading - degrading them to the stage of comprehensibility by outlining recognised shapes from the accidental distortions).