During the past ten years, architecture has been the main focus of my body of work. In my paintings, I seek to explore concerns about the built environment, and aim to ideologically challenge the dominant culture and its historical transcendence. My overall intent is to reveal superficially inconsistent, “false” identities of this built environment and its history. I work from negation and opposites to highlight the synthesis of problems that interest me. My approach to painting is influenced by the use and application of commercial paint in domestic and industrial structures. More specifically, I am interested in the ways a wall surface becomes saturated with layers of paint throughout the years. In my practice, I appropriate the naive handling and brushstrokes of this form and style of painting.
My first impulse forces me to look at a painting in a similar manner as neoplastics and constructivists conceived a painting: line, shape, and color planes. Therefore, the process in which concrete space is built largely informs the process by which I construct a painting. As such, I intend for the viewer to assimilate this visual occurrence as a daily experience that helps to influence or alert the other senses and ends up sharpening the empirical memory. This impulse allows me to delve into the concepts and specific narratives of my work.
The process of building a painting can be both tedious and complex. To create a distinct vision of the appropriated image, I use a freehand brush application and avoid mimicking such referenced image. I utilize drawing as a guide that can be deconstructed in the process and mask the planes with tape to later apply layers of color. I repeat this process of layering each plane several times until the desired saturation is achieved. The painting subsequently develops as the masked layers are uncovered and new shapes are unveiled. The atmosphere I intend to create is feed by employing diverse strokes and categorical mark making furthers the saturation of shades and planes. Drama is created and accentuated through the application of impasto layers of pigment throughout my paintings in a continuous search for diversifying brushworks.