This is a series of works on paper that are fundamentally based on the contrast of black and white, to which one or two colors are usually added. Materials used include Indian ink, acrylic paints, acrylic plaster, and charcoal. The representation is based on the high-contrast graphics provided by the charcoal and the images are developed from details that, when stylized, show a language that is based on drawing and that formally assumes a conceptual detachment with the forms from which it started. The essence of the theme results from the representation of aspects that stand out in the landscape as notable elements, which define its identity and which depend on the way attention is focused, a process that translates the observer's path, which is ultimately the filter that gives the most evident contour of the representation.
The work process is based on a wide variety of situations observed outside in a logic of rationalization of natural elements that later become lines and patches of color that embody the entire process that follows. The challenge is usually launched from what memory has retained, so it is possible in this series to identify concrete situations in the landscape that are later transformed into lines of force and in their simplified expression reinforced by the charcoal trace, in these cases it is the graphic structure of the landscape that gains weight over its formal reading. This conjugation between what is real and the stylized elements that emerge from the mental synthesis about what was seen, defines the quality of the images and becomes what is the common trait between the works in this series.
From a conceptual point of view, at the beginning of the series it was assumed that any situation that we can observe does not constitute an isolated compartment in the whole of our experience, that is, it does not begin and end in the concrete elements that compose it, nor is it confined to the moment. where we are looking at its details. There is a natural temporal contamination, the fact that similar situations have been observed helps to summarize everything in sets or classes, grouping similar elements and common aspects, in general the notable elements of the various situations do this function. The weight of experience when expressing thoughts or ideas about that same landscape is decisive in the result of the design, the representation of the landscape is affected by the context of ideas and ideas cannot be compartmentalized according to what surrounds us, they flow naturally and form a chain that may or may not have connections with what we are seeing, but despite that, they are a determining factor in the final result. It is assumed that there is always an effect of causality in a chain of phenomena that has lines of continuity, nothing comes out of nowhere, there is a constant transformation and often there is no clear boundary between these different experiences. One of the aspects that crosses transversally the themes about the landscape is the fact that there is always a geographical reference that refers to a cinematic observation that dilutes the experiences in a continuum of multiple images and the way to differentiate them depends on the notable elements that are highlighted in each one of them, the visual harassment of these elements and the way they affect perception are the mark of their identity. It is these elements that we are interested in highlighting through the method of graphic synthesis that is fundamentally based on representing the lines of force of the landscape.
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