“a story within a story,” “a picture within a picture,” “a performance within a performance,” “a film within a film”

The influence of the painting as a window in the visual arts, limits the framing and the symbolic space that perspective creates. The installation Mise En Abyme reflects about the limits between reality and fiction in art conceiving the space as occupied margins. The exhibition space becomes a scene for the re-presentation; both a framed space and a framework, an intermediary between the real space of the room and that of the painting.

Painted or written history, both frame the myth; its representation: The painting as a window is the image as a screen, it is the frame as a scene; In short, a symbolic space, a perspective, in this case abyssal.
A scenography of transparent fragments that, like a wounded and inner window, evokes the rocky forms of ice, caves or cliffs on a horizon of broken glass that frames the landscape. A mise-en-abyme where the viewer is both an observer and performer subject within an hypnotic dialogue with the work. Participant of a fragmentation with respect to the whole, either from the inside to the outside, either literal or metaphorical, the work itself is a symbol of the abruption between real life and dreams. The exhibition lets us sense the outer world of the scene as it makes us complicit in its approachless reality.


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.

 The Frame Of Illusion Installation (painting & video). Set of 3 paintings num. 40  figure / paysage / marine formats and 3 video-loop simulations projected on equivalent suspended frames | 2018-19 |

-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.-


 Mise En Abyme  bespoke intallation for the gallery space with wooden frames and coloured mylar Thresholds Series I, II, III Mixed media on laser cut mylar and wooden stretcher bars | 190 x 140 cm | 160 x 180 cm | 190 x 140 cm | 2019 |


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

 Midnight Sun Paintings 4 pieces series with tondo format Polar Dream, Arctic Eclipse, Farthest North and Golden Compass Mixed media on laser cut mylar and wooden canvas | Diameter 80 cm | 2017-2019


“Who is the third who walks always beside you?
When I count, there are only you and I together
But when I look ahead up the white road
There is always another one walking beside you,
Gliding wrapt in a brown mantle, hooded,
I do not know whether a man or a woman.
But who is that on the other side of you?

“What the Thunder Said”  The Waste Land, T.S. Eliot

In the vast immensity of ice desert, the explorer and his white shadow are imbued with a terrifying infinity. The lost traveler experiences a journey of loneliness accompanied by his ghost.  White Shades is inspired by the fata morgana effect. A superior mirage that is due to an inversion of temperatures. This is a common phenomenon on frozen surfaces usually seen in the morning at calm Arctic seas. Islands, cliffs, ships, or glaciers on the horizon take on the appearance of fairy castles.

The set explores the limits between reality and fiction, trying to illuminate, or perhaps overshadow with colour, the border between legend and reality. Complementary coloured lights bathe silent symmetrical photos of hypnotic arctic landscapes thanks to dichroic crystals like fantasy navigational instruments.

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

 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.

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

 Color 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 AV Infinity 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 performingaudio-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.


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.

-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