In this sense, every artist reflects in his works not what he sees, but what he thinks. The artist makes an alliance between his emotions and sensible experiences and the evolution of physical and scientific thinking of the structures of a simple object and its relationship with space, reaching a hyper-reality of the analyzed objects. A hyper-reality that starts in his gut, passes through his brain and is manifested through his hand.
If we think that a painting is a cosmos composed of forms and energies that does not end at the edge of the frame, but that the artist holds in his continent his own expressive galaxy, we can say that in this pictorial space we have a core that functions as the starting and ending point of total energy.
In my case, both in my graphic and analytical cubism works, this recognition of my own image helps me make organic compositions which are based on total expression and that as surfaces get more and more simplified, they reach the totality of space through an abstraction that has a very clear expressive charge.