Living within the close perimeter of an active volcano, its intrinsic precariousness, and the influence of its generative power forming new ground while destroying old ones, naturally permeates my work. 

When I started to paint on free canvases spread over natural grounds, I also started to meet with some notable factors that would inevitably become part of the process. Beside the uneven and unstable support, which I favored, random events like rains, mud splashes, disrupting winds or hot sun, came into play. The usually expected cleanliness of the medium didn’t hold much sense anymore. I embraced the soiled from soil, the dirty from dirt. Liquid muds of various colors, of organic origins or telluric nature, constantly found their way as a substantial part of the paint. 

At that point, I started to understand the progressive convergence of successive phases of my work from previous periods of my life which, unrelated at first sight, often involved either some materials from the ground, or had a direct relation to it.