Drawing was always a way to get to painting. Sometimes I like to play a game, a game between drawing and painting, I don’t limit myself to drawing, because we get stuck between the lines. The question of affectivity is to let the emotions flow freely and to free the mind. The brush strokes express the emotions through the gesture, in a state of ego-freedom, of non-consciousness.
I think that the way of doing, the act of the mind when painting is a convergence between two opposed entities, consciousness/non-consciousness. When I paint a picture about tauromachy, I’m painting the emotions, the gesture, the ritual, I try to feel inside the bull-fighter’s mind, between life and death. The bull is a noble animal, it just takes a big stain of black and I see the bull, the black colour shakes the concepts. There is a very strong convergence point, and every brush stroke turn into a dance. In these paintings, I explore the mind, like a therapeutic act, through non-consciousness, or automatism.
We are thinking animals, and we fulfill our thoughts when we don’t think and when we don’t calculate. There is a certain relationship between the lines and the strokes. A long time ago, I said that there were the veins running through the picture, the strokes are the nerves, I felt the necessity to express my emotions through the strokes on the picture. In my school time, when the teacher was away from the classroom, I used to go to the blackboard to draw and to scribble, there were coloured chalks. Painting is going back to childhood, I free my mind and sometimes I feel like this child scribbling on the linen.
The idea of truthfulness comes from the earnestness of painting, expressing through painting with authenticity. I say that rivers of colours are running, like in a poem, and truthfulness comes from a way of painting with your own blood, in a metaphoric sense, a way to transcend the techniques, for the virtuosity of painting turns into an art without artefacts.