In my art, I consider and observe various fundamental aspects: the principles of physics, such as those of Quantum Mechanics and the Holographic Universe; the psychological-existential fragmentation of the individual; the compulsions of character that reveal the mechanical nature of the actions of artists of the past and today, which distract them from their essence, preventing them from expressing their art in a true way.
Once, the artist was a spokesperson for becoming, but for me today, this is not at all the case. I believe that there is a lack of awareness today of still expressing concepts based on principles and beliefs that have long been outdated. For example, Spatialism is still thought of as an artistic movement that brought something new. Although it did so to some extent, it is still based on the same principles of the geometric perspective of Leon Battista Alberti, Piero della Francesca, and other artists from five centuries ago.
Indeed, even today, it is believed that space is that thing out there, outside of us, and that time passes while we move within it. We still witness expressive-conceptual attempts to modify space with installations. However, the principle of the “non-locality” of subatomic particles, as revealed by physics, demonstrates that reality is different from what we believe. It is not so much space, time, or perspective that represents reality, but reality is a representation of our perspective. Therefore, I prefer the two-dimensional surface of the canvas because it more closely reflects the principle of non-locality of subatomic particles, reducing the distortion of our perception.
Another central aspect of my art-making is the need to be aware of the mechanical nature of human action. I share with Georges Ivanovic Gurdjieff that the human being possesses and manifests through three internal dimensions: emotional, instinctive, and intellectual. For each of these, one can observe the mechanical activity of responses/reactions. This mechanical nature overlaps with the intention of the deep essence of the artist, thus creating a “mechanical” work, which comes from the surface.
For me, it is fundamental to be aware and recognize this mechanical nature in the process of creating a work of art because it allows me to express and manifest my essence in a true way, thus emerging from psychological-existential fragmentation.
My art is the result of much technical experimentation and observation of my inner and outer reality. It is not the result of mental research in the traditional sense, nor do I believe that the mind that searches can focus and find only what it searches for, losing sight of the vast panorama of possibilities. Searching is an activity of the mind, and the mind lies!
In this sense, from my point of view, an artist who does research with something in mind to find can only produce anticipated and predictable works, because it influences the phenomenon too much (Heisenberg).
For this reason, I limit myself to observing the event and acting by suspending expectation and critical-analytical judgment, letting myself be traversed by the work that already exists in my essence to manifest it on the pictorial surface.