My work is developed mainly through oil painting and mixed media on various supports. It stems from a direct relationship with the places that spark my interest: I travel through them, observe them, research their history and culture and, above all, try to understand the experiences and ways of life of the people who live in them.

Rather than representing a territory, with all the significant aspects that make it up, such as landscapes, architecture, art, etc., I am interested in understanding the customs and ways of life of those who inhabit it, in order to later translate them into a visual language.

Time and memory are constant axes in my work. My painting stands as a truthful testimony that seeks to account for both light and darkness.

As for technique and my form of expression, my work has progressively moved from an academic structure, grounded in the drawing and use of color typical of classicism, toward a painting more closely tied to contemporary art.

Today my brushstrokes and lines are freer and more gestural, and my palette has moved from predominantly sepia tones toward colors of greater intensity and luminosity, even reaching vibrant hues in some cases.

The incorporation of mixed media has further expanded the possibilities of my language. In “The Footprint of Time”, for example, I use materials gathered in the places I have traveled and incorporate them into the work. These elements become fragments of the territory: a concrete presence that preserves something of the lived experience and establishes a bond between matter, memory and the environment in which I was.

Each of my series has its own content and develops independently; even so, a common thread runs through them, part of one and the same search whose aim is to reveal the relationship between memory, territory, history and their inhabitants. The essence of the central motif present throughout my work is “The Human Condition”.

The creative process begins with writing an argument that defines the concept and guides the development of the work.

From my impressions of a particular place I compose a narrative, into which I incorporate the results of the historical and cultural research I carry out.

I observe, share, gather information and read until I build a personal outlook on what I wish to create and convey, using a language of my own, but without altering reality.

It is at this crossing between lived experience and research that the narrative begins to take shape, one that will later be transformed into images, that is, into paintings.

For this reason I define my work as:
“Written Images”.

The development of each project, made up of around twenty works or more gathered into independent series, takes many years to fully express the record and the message it holds.

I have traveled through different territories of Chile, among them the Atacama Desert, the former saltpeter works (Oficinas Salitreras), Valparaíso and the regions farther south in my country, Chile.

Outside Chile, my travels through Southeast Asia, North Africa and India have significantly broadened my experience and my view of other cultures.

In the solitude of my studio I work on recreating and interpreting my experiences, both within and outside the country. These experiences run through my projects in one way or another, but I worked on and interpreted them in greater depth in my project:
“Experiences On This Side and Beyond the Border”.

In the practice of my work as a visual artist, it is, in my particular case, essential to experience directly the space from which inspiration arises.

The moment of connection is the starting point of all my projects.

The following are the six projects I have undertaken: