Drawing was always present within me, I have drawn since my childhood. But when I entered university to study Visual Arts in 2012 the desire became greater, and from that, other contacts with art began. It is an intense and constant process, which I have built on until now.

Every form of art is very valid and sincere, so I am a great admirer of its creative power. The figurative process entered my work in a very organic way. As I went through adolescence I built up my personal experiences; I felt the need to put out what I could no longer only express with words and found that the picture was another way to represent the social sphere. The human figure was the most expressive form, so I built on that, I began to deepen my techniques and studies on it.

We are surrounded by people all the time, from our birth to our death. The portrait for me functions as a fingerprint in our mind, and through it, we discover and construct new signs, which are linked to our experiences of love, family and even small daily experiences. During the last few years, I have had experiences that have marked me in a very significant way, and being able to illustrate these through portraits has somehow made me calmer with myself and with those people who are no longer present. The portrait has become a way of making both presence and absence. It is also a way for the spectators to be able to identify themselves.

My narrative process, first of all, begins with a speech that I construct with myself: What do I want to talk about? How to speak? I begin then to think about how this can be constructed with the subject in mind. Sometimes I bring in a personal speech from my past experiences, which somehow I still have to elaborate, or issues that are intertwined with relationships and love. One of the places that art occupies in my life is that of reflection on absences and presences, as I said before.

In 2015 I started a series called Lacunas (Gaps), through which I invited people to talk about their past relationships or what they understood of love. There was a need for me to deepen the relationships between the people around me and myself because when we talk about love, we are talking about a feeling that is universal. 
Listening is a virtue that enriches us a lot, and consequently, this adds a potential to my work in a very personal way. So when I choose a model to portray, the only thing I need to know is whether they identify themselves with what I do, whether there can be a dialogue on the subject I want to express. Most people are inserted into my daily life, whether be it at home, leisure, academically and even through online references, such as the social media networks, Instagram and Facebook.

I try to express feelings, experiences, fears, desires, an emptiness that is not complete. And when I say that, I also speak of myself, I try to speak about the relationships that have somehow marked me.

Yes, a few years ago I had the desire, and I made a self-portrait. However, today this desire is no longer present. Today I express myself through this dialogue with the other, which brings an identification with human issues related to love, suffering, loss, the elaboration of lived experiences.

Like every human being who builds himself up every day, we carry through our lives questions for which, for the most part, we cannot answer, and desires we cannot fulfil. There are gaps that we try to fill in, but they also allow for new creations and meanings. The unfinished has in this its potential.

I've worked a lot with colours. However, I see the possibility that black and white brings: it allows the viewer to read into the work their own colours, which are not reduced, as they would be if I already included a single colour. Black and white opens up new possibilities, as well as the unfinished drawing.

No, that I'm always asked. Currently, my work fits into realism. But that was never my purpose; somehow realism came very organically into my work; I would say unpretentiously. Of course, since the practice evolves and improves, I get closer to perfectionism, reality. But I try not to be held hostage by this because at the end of each project my biggest concern is whether it conveys what I want to say.

Throughout my academic period, this was a very present question, and it is hardly possible to have a ready answer. For me, art is everything we do and what moves us – something that us, as artists, build daily in our process. Everything that touches me, everything that makes me think, is intertwined and goes into my production.