Realizing that art would be my main language was something gradual, at the age of 18 I was selling painted caps and t-shirts, also 20x20 cm paintings, with time I realized that people who bought those items from me were getting something more than decoration, eventually I realized that this was going to be a very motivating purpose to try to be an artist, besides knowing that I would not stop thinking of new ideas for new works every day.

My uncle Matías, as well as my aunt, his wife, also an artist, cultivated my drawings from a very young age. Besides spending the night among all his paintings since I was almost 4 years old, the days I was alone with them I used my uncle's pencils, experimenting and drawing a lot, there wasn't a day I didn't draw. Seeing his paintings in his house and in the houses of my relatives is something I continue to do non-stop to this day. I remember watching him paint when I was very little and seeing my uncle as a very special being. For my birthdays, my uncles have always given me painting tools and many art books, to this day, they are a very important pillar when it comes to my vocation as a painter. Finally, I have a key memory, before I left to study Systems Engineering, I told my uncle about it and somehow he told me that I had to dedicate myself to something related to art. After a year, I left the university and dedicated myself 100% to art.

When I immerse myself in the work of another artist I acquire a general vision of that artist, it is difficult for me to separate the technique from the emotion that it transmits, I think it is a whole, narrative, emotion and technique, the three go hand in hand, and if his technique calls my attention is because in another aspect I want to use part of that technique to be able to transmit what that technique made me feel, a clear example happens to me with Bacon's textures, those pasty whites on violent violets, how it seems that the flesh is torn, that sensation of effort and violence that I tried to transmit in some faces of this collection, people full of excess of effort. In the case of Hockney it happens to me with his colors, he is a cheerful guy and it shows not only in his face but also in his colors, having a painting of David in my house would be like having a rose garden that would brighten my mornings a little easier, that is also what I would like to achieve with my work, sometimes intimidate but many others brighten the lives of those who collect my art, I do not believe that art is only to reflect but also a decoration for the soul. A great painter, a complete painter has good narrative, transmits good emotion and has good technique, without a doubt sometimes I see an artist that only has good technique and I try to stay with that and look for my own emotion, although lately I try to be less and less influenced by artists that inspire me and look for my own voice, I am still young.

Most of my paintings begin with a reference photo, chosen consciously, from there I start to improvise, I let the environment arise around that photo, which is usually a model, while I am immersed in the creation I improvise on the fly and in the small moments that I stop to see my work from afar is where my conscious enters to criticize and judge if what I'm doing is going the right way or not, It is a dance between the conscious and the unconscious throughout the work, while the unconscious plays the conscious judges and accommodates, sometimes I like that the critic does not come into play so much, sometimes he wins and becomes very strict. I think it's a good result when these two are balanced, if the unconscious takes control sometimes a lot of emotion comes out but disorganized and if the conscious takes control something very structured can come out that doesn't transmit anything.

There is a recurring theme that I look for in my works, it is that of the elderly, often as in a state of reflection, when choosing the reference image, I am struck by this type of characters, lately in casinos, with glasses, intimidating and mysterious, always silent, almost never enter into action, they are simply with a cigarette in their mouth or in their hand and looking at the viewer or the void, they are alive but still within the frame.

Urban Pigeons emerged from initially creating three works without thinking of leaving and seeing that my subconscious manifested itself with the feeling that I am already in the city. Moving from the countryside to the city was difficult for me. I like to be on grass, not on cement. I like getting up in the morning and being able to enjoy the sun without the noise of cars. I like to get together with my friends and sunbathe on the grass, without too much noise and not so many people running around us. There are also things I love about the city, of course, but one thing I definitely don't like is the pace of people in suits and ties. I see them constantly running, sometimes they even run to get a coffee, when do they enjoy that coffee? I also feel that this rhythm is contagious, and I find myself caught up in it. To get out, I paint, and on this occasion, I painted on this very subject.

I feel more like a witness in the photos of this collection. I feel like they are people, scenes I have crossed paths with on the street. The landscape behind me is not so much the city as I see it, but how they feel it, traveling so fast, a world devoid of emotion. I identify with “Vacation, just 5 minutes.” I found myself trapped in that frenetic pace and finally managed to escape. That's the exact moment I realized I was running after something, and I didn't know what.

“Vacations, only 5 minutes” arises from an idea of relief from this routine in the city, a person that after many blows, runs and stress could take even 5 minutes of “vacation”. I saw this for a while in my relatives, as they could not stop working, not even on vacation they could not let go of the phone to rest 10 minutes, all for work, I understand that the system is mostly working this way because I also end up trapped in that, this collection is a complaint to the system not to the people who are trapped within it. This work is a respite from that system, where the colors in comparison to the other works are more vibrant, where the person could find his oxygen for 5 minutes.

The name of the collection “Urban Pigeon” comes from the history of the Bravia Pigeon, a kind of pigeon that was domesticated about 10,000 years ago, then that pigeon was forgotten by humans and survived in different places, one of them the city. Now pigeons are seen as rats, at least in my city, what I mean by all this is that we are also a kind of rat and we forget that. They were once cared and loved by us until we abandoned them. What priority do we have to do something like that? We adapt to evolution and more and more we believe that we need less and less of nature when nature is what really connects us with life.

I like each viewer to take away his own reflection of each work and each collection but from my perspective I reflect in this collection the rhythms that push you in the city that whether you want or not you end up trapped, it is good to be aware of it to be able to leave from time to time, so that stress does not make us sick. The emotion I would like to convey is one of restlessness, intrigue and tension, what the city transmitted to me when I met it.