My visual proposal gives shape to mental maps of accumulated recollections that inhabit the memory. These mental maps underlie and are fed by language, the social imaginary and the delirious rhythm of contemporary life.
In humans, memory functions as a complex information processing system that, in turn, operates through processes of encoding, storage, construction, reconstruction and retrieval of such information. However, during these processes, we often add other information to memories and may distort them for various reasons: when perceiving information, we also interpret, since the recollections stored in our memory are based on perception, but also on prior knowledge and on assumptions -probable inferences- about aspects not perceived, or not fully understood. But in addition, this stored memory is probably fragmentary, so when we remember or try to remember -retrieval- later, we only have fragments -in greater or lesser detail- of the memories we reconstructed in the original event, and we fill in the "gaps" based on our expectations and prior knowledge in order to make the memory coherent.
Remembering an image, a conversation, an experienced event, etc., can lead us to add information that was not actually perceived. Memory appropriates information of external origin through perceptual processes (vision, hearing, touch, etc.) and information of internal origin through cognitive processes (thought, imagination, reasoning, etc.). Thus, from my point of view, virtually all our memories have, to a lesser or greater extent, a certain degree of distortion.
On the other hand, language can be defined as a system of signs through which individuals communicate with each other. However, language itself is a fallible art form; since its inception, words have had extraordinary power: whether in the form of symbols, typefaces, poetry, speeches, narratives, or something as simple as a compliment or an insult, what we say can have a profound effect on the recipient. It seems that we are constantly looking for a more effective way to express our opinion and get our point across.
Nowadays we communicate through acronyms, emoticons, stickers, memes, pop-ups, gifs, icons, among other things, instead of grammatically ordered ideas and sentences, which ultimately leaves "a lot of room for individual interpretation"; and my painting revolves around this idea, as I intentionally distort images and alter words so that they lose their function in terms of their condition of iconicity and literalness, establishing an idea of deconstruction, leaving viewers the function of visual catalyst to ultimately encourage their own particular dialogue.M
2019 (NEO) Room for new languages. “Patchworkpainting” Barcelona, Spain.
2018 LACONTRA Centre de Creació i Difusió d'Art.
“Painting Rags”. Barcelona, Spain.
2015 Gallery ESPACIO DESDE DENTRO. "Scraps". Malaga, Spain.
2014 Cultural Centre, Barcelona City Council. Collblanc - LaTorrassa. "Clastomanía".Barcelona, Spain.
2013 Cotxeres-Casinet Civic Centre, Barcelona City Council. "Destruction"
2010 Dave Gallery. “Fragmentos”. Rome, Italy.
2009 SoPhia Gallery. “Parábolas”. Florence, Italy.
2008 Cultural Centre, Barcelona City Council. Collblanc - LaTorrassa.
2018 Micro Salón #7, Galerie Coucher de Soleil. Paris, France.
Giordano-Studio-Galleria. Rome, Italy.
2017 Drap Art. Barcelona Centre for Contemporary Culture. CCCB. Barcelona, Spain.
2016 Choses à acheter et à lancer. Galerie Pierrot. Paris, France.
2015 Visual arts diffusion center González & Sousa Foundation.
2014 BMW paint award.
2013 Miami Cultural Complex. "Art fabric" Miami, Florida, USA.
2012 Faculty of Fine Arts. "Refractario Sala”. Cuenca, Spain.
2011 Two Ways Show Space: “Art and science”. Miami, USA.
2010 Open Art New. Taylor & Harris Foundation.
FABRIANO Project. International Drawing Prix. Florence, Italy
2009 Centre for Contemporary Art, EO "Microcosmos" Bicentennial. Mexico City.
2008 National School of Art. "Metamorfosis" Havana, Cuba.
2005 Visual Arts Development Center. Havana Cuba.
2004 Plastic arts and photography circuits. Young Art Center. Madrid,
2003 Open space Gallery. “Post Modern”. Ottawa-Canadá.
2002 Phillips Gallery. “Urban visions” Tulsa, Oklahoma. USA.
2001 Florida School on the Arts Gallery. ”Paper art”. Miami, Florida, USA.
2000 Exhibition "(Urban Visions) of the plastic arts", at the Experimental Libertador University. Caracas Venezuela.
1999 Tito Salas Contemporary Art Gallery
"Urban visions" Caracas-Venezuela.
2009 Fondazione Spazi Caldi. (Parabolas Project) Florence, Italy.
2011 Moritz. New Talent Award. Mention: New languages. Barcelona, Spain.
2010 FABRIANO Project. International Drawing Prix. Florence, Italy.
2009 Villaviciosa National Painting Contest. Villaviciosa de Odón. Madrid, Espain.
Cervezas Moritz S.A. Barcelona-Spain.
Ayuntamiento de Villaviciosa. Asturias, España.
Owen & Illinois Foundation. Spain.
Loreal Paris Foundation.
González & Sousa.CA Foundation. Portugal.
BMW Group. Spain.
Libertador Experimental University
Licensed in fine Arts. Caracas, Venezuela.
“Serra i Abella” School of Art and Design
Degree in graphic design. Barcelona, Spain.