“I like to say that the subject is nothing more than a macguffin, to use Hitchcock’s language, a plot excuse for the painting to move forward. I see it a bit like the paradox of figurative painting: we painters are constantly looking for interesting subjects, when what is really interesting is the painting itself”.

In an interview for Sirocomag, he makes it clear that his themes, which have been used extensively in the history of art, are not intended to go beyond their superficial treatment, although he understands that they can give rise to new readings. In this way, he presents us with an imaginary far removed from any novelty but which continues to surprise and absorb us with each representation.

In his declarations, he claims that drawing is an enhancer of painting itself, stating that he considers it fundamental, “like the foundations of painting”. Regarding the marked melancholy and density that his works breathe, he explains that, far from being something intentional, it is the result of his intuition when painting.

The protagonists of his paintings – be they humans, animals, gods or landscapes – are invested with a deep depth, accentuated by the use of colour and the cleanness of the drawing. However, this introspection is combined with the superficial halo of pop art present in his work. It is a continuous dichotomous game as, despite his complex conception of painting, he embraces the ironic tone that his figures evoke.