Beyond chronological order, this art archive documents open and constantly overlapping processes. It is the trace of a visual evolution: an urgency to paint that has moved away from external noise to become my primary tool for introspection and mental projection.

Crying Cities >

2021-2025

The presence in transit and the solitude within the crowd. Nocturnal streets where rain and reflections amplify visual noise, isolating the individual. Figures wander in constant solitude, swallowed by an oppressive atmosphere that traps them.

Series of acrylics on canvas and paper in various formats.

soundtrack >

2012-2022

Process over narrative: the abolition of the sketch in favor of the immediacy of the gesture. This series is not unified by a visual story, but by a state of obsessive immersion. Driven by the loop-listening of a single musical piece, the creative act becomes visceral. Without premeditation, schemes, or underdrawing, each work is the result of a direct and raw confrontation with the surface. It is the renunciation of structure; painting understood as an exercise in urgency and absolute confinement.

Mixed media series (acrylic, photo transfer, inks, etc.) on various supports.

Splash Cities >

2014-2020

The city as a prologue. A series that uses watercolor and ink to frame urban space as a vast opening shot; a structural stage designed for the viewer to project their own narrative. It marks the beginning of my exploration into how the individual inhabits space—an expansive gaze before the environment began to close in on itself.

Series of inks and watercolors on paper.

in transit >

2009-2010

The observation of the environment. A series that documents my pictorial beginnings, centered on the dynamism of the street and the classical watercolor technique. What began as an exercise in architectural recording provided the necessary foundation for a later transition. It is the first step: a clear outward gaze, prior to the introspection and darkness of my subsequent series.

Series of watercolors on paper.

large format >

Large-scale painting imposes a different physicality. Working on surfaces that exceed human stature forces a freedom of movement where the gesture no longer stems solely from the hand, but from the entire body; it is an exercise in immersion and absolute presence before the matter.

Large-scale painting imposes a different physicality. Working on surfaces that exceed human stature forces a freedom of movement where the gesture no longer stems solely from the hand, but from the entire body; it is an exercise in immersion and absolute presence before the matter.

El Camino (Triptych) Conceived as a dual and mutable object, this work functions as a visual metaphor for the journey of life. When closed, the reverse captures an urban view of Ribera de Curtidores (Madrid)—a scene of chromatic synthesis that bridges the gap between the graphic heritage of my previous series and my current material density. Upon opening, the city’s structure disappears, giving way to a forest: a space for introspection where the path becomes a trace of who we are and the possibility of who we choose to be.
“Things could have happened in any other way and yet, they happened like this” (Miguel Delibes).
Acrylic and mixed media on wood panel. 240 x 120 cm (Triptych). 2025. Private collection.

editorial>

The editorial commission as an exercise in synthesis. Through the exclusive use of ink and watercolor on paper, I seek to connect with the essence of the work in a single image. A study in restraint and balance, where the mark, the line, and the void enter into a direct dialogue with the text.

Inks and watercolors on paper.