How has your work evolved since its beginnings?

During my childhood and adolescence I drew almost exclusively scenes from my imagination or I echoed the popular culture of the time, actors, actresses, politicians, etc. The interest in the everyday physical world came to me very late, when I moved to Berlin. Revisiting old pictures of mine I have observed a certain beardless humor that comes off as shameful, primitive, easy.. and deep down mistaken and fake; the same happens with the references to popular culture. Some ten years ago I stopped making references to popular culture in the images I produce on my own even if I continue to use them profusely in my everyday communications. This division I observe is related with the function my images had before and the function they have now. My early pictures as a young draftsman had a practical function, they were addressed to someone in particular; the vocabulary of popular culture is useful when you want to transport a message. Today I find interest in the images I produce essentially because they are not the vehicle of a message; I like them as long as they are elusive to me. I believe they can only be true if they remain ambiguous.

Which processes of creation has your work gone through, regarding language, concept, form, technique, style, etc.?

There hasn’t been any drastic change since I started drawing the physical world in Berlin. The concept would be the same, with the difference perhaps, that I now consider the possibility of making more than just one image in a certain place in order to use them later for an animation. I try to use any new drawing tool that appears on the market and occasionally discover some classic tool like chalks I tried recently. Some I use for some time and then abandon them but in general, the range of tools I use has expanded little by little.

With regard to the aspect of representation, I’ve been able to better grasp the different ways in which we understand space and choose lines of sight that are less common in painting but natural to everyday life. I am interested in the function of the spot where our gaze lands and rests, the center of the constellation in sight, that we see without looking at anything in particular, in those moments of absorption, of being absorbed.
I have come to anticipate, to some extent, the digital processes that I will later implement even as I am drawing early drafts on paper, so my style has been influenced by the characteristics of those processes. A friend has said that I have become more baroque, more rococo. It is true, I have become more patient. Ten years ago I finished an image one or two weeks after having started them. Currently I may work several years on a single image. This means I have come to have some thirty images in process at any given time. A system of stations has thus crystallized, with different sets of pictures in different stages of development.

Which elements, deeds, events or characters have influenced each moment of creation?

To answer this question truthfully would equal, I think, to write a detailed biography of my life as a Folk artist. Instead of doing that and for the reason of having already mentioned some other significant episode earlier, I would like to stress the aptitude of some more or less idolized artists to help some other more or less hesitant artists. The former, perhaps distant in space and time, exploring seemingly improper roads. Artists who showed me that some activity on which I harboured doubts was, indeed, legitimate. I propose to understand artists in that special function of authorising, because they were at the edge of an abyss, because they went deep into a foggy woodland and were able to set foot without slipping. For several years I harbored doubts about my way of describing the figures of my pictures and felt relieved upon discovering the work of painter L.S. Lowry, who is best known for his pictures of Manchester, populated by stick figures drawn like a child would do, surrounded by scenery which is sophisticated and subtle; puppets busy in the city, in an intensely felt atmosphere. Through his work I am able to develop a more robust relationship with my own; it is something extraordinary but common in painting, that silent works made by a stranger can be capable of exerting an influence that dozens of compliments cannot. I have wondered recently, if my work will ever authorize, in this sense, the work of some other hesitant artist.

Which techniques have you tried?

Many. What attracts me to a certain technique is the chance of obtaining a surprising result. The haptic is also important insofar as I discard materials that feel unpleasant in their handling, like chalk pencils, for instance.

Which is the treatment of each technique?

As I said earlier the criterion of surprise or novelty prevails over that of efficiency.

Is there a common thread both in technique and concept in your whole artistic production?

No thread is needed. You can hardly get lost as I’m documenting my life and I love rituals. You can be sure to find images drawn from the point of view of someone sitting, which is true today but would be true next year too or in ten or three hundred years, if I were to live that long.