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My works are digital Internet based environments and more traditional drawings
and paintings that attempt to reflect my sense of the times we are living in.
These works confront themes such as real time/real life; fiction/information;
social economy/special effects; isolation/public identity. I am trying to render
some notion of this total game called life.

Ideally my work finds its roots in Sol LeWitt’s “The Idea Becomes A Machine
That Makes The Art”. I create my own real time digital worlds (portraits,
landscapes) and let the “sacred fire” (Internet feedback) lead through them so
that they become “birth machines”. Then, often using traditional techniques,
I paint the above environments and even store archived digital versions of
them (week, month, year of their online life) in portable personal devices like
the IPod.




Statement Early works 2000-01-02 / Paintings Desktop Icons

My paintings of Icons and software logos are landscapes. They are elements of our daily landscape; the most well known landscape of the world. A lot of people spend their time in front of a computer, interacting and overlapping between personal digital relationships and human relationships. Desktop icons are the user's digital map and as such they write a type of social genome.
I also paint desktop’s themes: those classic landscapes like a gras field with clouds or a ladybug on a leaf, you can find as standard wallpapers in Operative Systems such as Windows XP or MacOs Panther. Other subjects include Computer Viruses, Trojan Horses, IP Addresses and other forms of floating data that even if invisible, surround our daily life and that I want to visualize and store on canvas like in a database.
At a quick glance, my paintings could seem a simple copy -in a bigger scale- of those icons you can find on your desktop. In truth they are painted as our eyes see them on the screen, and not as they really are. I paint them with shades appearing due to the distance from which we look at them instead of copying them as they are programmed, pixel by pixel. I have inverted the process used by Pointillism/Divisionism during 19th-20th centuries. It is an aesthetic choice that hides a precise concept and aim: all my paintings are related to the subject of perception. The perception of the world filtered and mirrored by our desktop experience.
Following this process, I see them as intimate paintings, which can evoke personal emotions and private memories in people's minds.