CHAOS—STRUCTURE—COLOR—RHYTHM are some words that come to mind when I look at my paintings. Chaos expands in space, structure appears open or closed, and finally color vibrates and makes itself felt rhythmically. Rhythm opens paths to my own dynamic, moving forward and being blocked, building and destroying, improvising and being surprised. But there is a moment in which the painting becomes independent.
When I paint, time stops. This arrest in time is what I want to paint, outside of linear time.
Since the beginning of my education, geometry manifested itself implicitly or explicitly in my work. From 1980-86, I lived in Mexico City where I studied Mayan and Aztec cultures, especially the geometry of their architectural.
From my exhibition entitled “Geometry, Interminable Delirium” of 1995, I developed a series of paintings with different approaches. The series “Homage to Beethoven” from 2007 exhibited in Berlin has as its starting point the annotations and strikethroughs that Ludwig van Beethoven wrote in the margins of his manuscript scores.
When I’m present in the act of creating, desire, idea and material come together. I think the result of that interaction draws the viewer’s eye. I always wonder, “What is the link that a work of art creates between the artist and the observer?