In the Renaissance, the painting was defined as -a transparent window through which one looked to a section of the visible world-. With time, its history evolved, becoming more sophisticated and even standardized under a measurement system adapted to the pictorial genres of figure, paysage, marine.

Shortly after, the Industrialization would bring revolutionary formats of illusionism such as the moving image.

The installation The Frame of Illusion reflects on both re-presentation systems from the visual pictorial scene: the picture / window and its equivalent of image / screen.

A symmetric scenography shows three standard painting  (figure, landscape and seascape) confronted to three floating frames that, suspended in the gallery room, work as mimetic projecting screens that reproduce the pictorial artworks on video. When looking at them we notice a temporal dimension. Shadows move describing the path of natural light through the simulated void spaces. This system presents a dual scenario to the viewer: the contemplative experience of the painting that requires time next to its “instant” version shown on the virtual experience of the video projecting screens.

Figure Paysage Marine refers to the Universal Measurement System for stretcher bars and canvas that made possible the standardization of painting. A formats grid created in the 18th century’s France that is still valid today without barely anyone inquiring about its nature. This series plays with the traditional formats as a priori conditioning factors of painting as a window completing a scale of size and color. Each title refers to a pictorial genre / numbering according to the grid and questions the container / content relationship usage as a frame of representation.

 40 FPM Mixed media on acrylic sheets and wooden stretcher bars | 100 x 81 cm | 100 x 73 cm | 100 x 65 cm |  2018 50 FPM Mixed media on acrylic sheets and wooden stretcher bars | 116 x 89 cm | 116 x 81 cm | 116 x 73 cm | 2018 60 FPM Mixed media on acrylic sheets and wooden stretcher bars |  130 x 97 cm |  130 x 89 cm | 130 x 81 cm |  2016 80 FPM Mixed media on acrylic sheets and wooden stretcher bars | 146 x 114 cm | 146 x 97 cm | 146 x 89 cm |  2018 100 FPM Mixed media on acrylic sheets and wooden stretcher bars| 162x 130 cm | 162 x 114 cm | 162 x 97 cm | 2015 120 FPM Mixed media on acrylic sheets and wooden stretcher bars | 195 x130 cm | 195x 114 cm | 195 x 97 cm | 2018


-This project was made thanks to the FormArte Grants for th Visual Arts 
at the College of Spain in Paris, CIUP sponsored by
the Ministry of Culture and Sport.-

The influence of the painting as a window in visual art limits the framing and the symbolic space that perspective creates. It would not be until the Romanticism that this "boundary" would participate conceptually in the painting through metaphor. The aspirational longing becomes metaphor by turning the elements of landscape into a visual representation of an interior / exterior debate beyond real life.

In an allegorical world of windows, whether explicit or metonymic, would it be possible to cross the threshold of the figurative morphologies of rock abysses, vertigo cliffs or light breaches at the end of a desolated cave?

Thresholds Series reinterprets the idea of fissure as "schism framing", delving into the double reality of the painting. Inspired by Rafael Argullol's reflections on the romantic window, the Series proposes a discourse where the poetry within visual language consciously takes part of its fiction. The transparency of the materials allows guessing the painting’s structure, like a window that evidences the artifice of painting. Thresholds Series are the broken glasses of a window from the abstract landscape that are found adrift.


In inuit, sinik means dream
Radical sini_ edge, limit or border

The peoples of Arctic regions measure distance in dreams or sinik, that is, in the number of nights a trip lasts. This poetic, inaccurate measure of time and space brought me on board of a tall ship expeditionary trip towards North Pole on the summer solstice of 2014.

Every midnight, in the hour of dreams, as the boat breaks through the edges of the frozen waters of the Arctic sea, the waves movement rocks the remains of fresh paint sparkling on deck under the euphoric midnight sun.

Sinik is a site-specific ship’s logbook navigating time and space under the hours of sunlight, wind, rain and snow of this trip. A leeway that through colours psychology shows a somnambulist reflection of the sleep disorders. A nocturnal logbook, a cartography, a sailing journey that lasts a dream.

 Sinik Mixed media on Poliester CAD paper roll. 36 x 1100 cm. 2014

 White Shades Installation. Kodak paper print, dycroic crystal, perspex custom made selve  ( 33 x 45 x 20 cm) and led lamp. Collection of 3 unique pieces. 2019

 Midnight Sun Paintings Mixed media on double acrylic sheet and wooden canvas. Diameter 80 cm. Collection 4 unique pieces. 2017

 Chroma-Arctic Circle Installation. 11 pieces. Kodak paper prints and acrylic sheets ( 22 x 29 cm) with wooden selves. Variable dimensions. 2017-2018  Border Colors 3 pieces series. Mixed media on double acrylic sheets and wooden stretcher bars. 190 x 140 cm each. 2016- 2017

Border Colors takes its title from the scientific discovery made by the German’s modern intellectual Wolfgang Von Goethe. He defined that colors emerge from the border-light frontier that occurs in between light and darkness. -“The reunion between polarities of the Divine Light and Darkness”-. Included in his treatise The Theory of Colors, 1810.

In keeping with the author’s romantic spirit, the proposal raises questions about the subjective perception of colour framed in the psychological experience of midnight sunlight and the imaginary border of the North Pole’s conquest.

 Ocean Mist (Homage to Wanderer above the Sea of Fog by Caspar D. Friedrich ) Installation, cad paper print on wal and gold plated pvc mirror. 205 x 150 cm each. 2017

 After the Deluge (Homage to Light and Color  & Shadow and Darkness by W. Turner) Mixed media on  acrylic sheet and wooden stretcher bars. 5 dyptich. 78,7 x 78,7 cm each. 2016

-The main project was made invited by
  TheArcticCircle Residency Program-


The most famous images from outer space are an interpretation. A meticulous translation of data collected by telescopes that, like Hubble, record light in the form of black and white images. They are later color processed by astronomers for their ease of study. In this way, colors are modified to become intelligible. If we could travel there, we would discover that the perceived colors so far do not faithfully reproduce what our eye would see. Our visual imaginary about the origin of the stars or the future of a galaxy, comes from an imagined chromatic basis.

It is well known that the matter that made life possible on Earth came from the interior of an asteroid that impacted on it. Pigments are minerals part of Earth and originates physical color, both in its qualities of creating and executing painting.

Color Constellations puts this scientific and metaphysic relationships in front of each other; with a sort of pictorial existentialism, it questions the origins of abstract painting, discussing color, light, matter, or gesture. By reinterpreting the fundamentals of color-pigment and color-light, Stardust, Infinity Series and Fatto d’Archimia form an organic conjunction that serves as a metaphor of the creation of its own pictorial universe. Furthermore, the project is conceived to keep open to new questions, manifesting an intention of continuity as on every plastic investigation.

 Constellations Collection (PR522) Burgundy Navy Blue A-35K Violet 15 AV Mineral Blue (PB27, W18) Dark Bluey Green (PG74)  Emerald Green AV Red Earth Color 17 Black of Mars (PBk11) Rojo 4 AV Light Blue AV Magenta Red AV (PR122)  Green 7 AVInfinity Series Mixed media on acrylic & board. | 87 x 150 cm | 120 x 200 cm | 150 x 200 cm | 185 x 185 cm | 2012-2014 Stardust 12 series of  9 pieces each. Mixed media on acetate paper. A3 Format. 2012-2014 Fatto d’Arquimia 12 volums. Pure pigment on Plexiglass pyramid. 30 x 30 x 30 cm. 2014

Aura is a performing audio-pictorial installation based on the idea of capturing a moment of experimental audition expressed through a physical form. Its presence as an object is capable of establishing closeness with the spectator. The dialogue explores the limits between visual, musical and performing arts by direct interaction with the public.

Aura was presented in 2014 at the Casa Velazquez Académie de France à Madrid Open Studios and at the 400 Auditorium of the Museo Nacional Centro de Arte Reina Sofia in collaboration with CNDM.

-These projects were made thanks to a Two-Year Program
at the Casa de Velázquez Artists Residency in Madrid
sponsored by the Mayor of Valencia-


The barrier with the tangible vanishes as the fuzzy blur of a photograph.
The stopped sequence of a movement.
The veiled transparency of the plastic material allows us to guess lost figures in an atmosphere of mist and haze.
Mixed feelings are hidden beneath an appearance of poetic plasticity.
The curious and intangible ambiguity of existence.
The fragile subtle beauty contained in an instant, everything overwhelming everything.

Inspired by Hamlet's romantic comedy, Ophelia's Madness proposes a reflection on existential anguish through the innocent and unstable gaze of Ofelia. The borderline that separates dualism and polar tensions blurs in dichotomies such as reasoning and emotion, passion and indifference, madness and sanity as defining relationships of the human being's fragility.

  Painting Series Transfer and mixed media on acrylic & board | 97 x 150 cm | 150 x 200 cm | 100 x 200 cm | 2009-2010 Lightboxes Backlight Professional Kodak Inkjet print. Front mounted 3 mm acrylic | 20 x 20 x 4.5 cm |  170 x 40 x 40 cm | 2009- 2010