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ABOUT MY CREATIVE PROCESS
Carrying a cultural and artistic heritage from my father's family and he himself being a composer of classical music, art has marked up my life since the day I was born.
When I first started sculpting, a neo-expressionistic trend reflected the dark, sinister aspect of my own psyche. Faces were my main concern. Fear, awe, rage, reverence, and other emotions would be described by strong, harsh features carved deeply into the clay.
After this period of mere raw expression, sculpture being the most truthful and absolute representation of the body, revealed its possibilities to exteriorize psychological complexities. Figures became knot-forms that described couples tied up in love-hate relationships or self-entanglements representing anguish interwoven in the outlines of massive forms. A not-intended cubism appeared before my eyes.
Unraveling this confusion, the body with an inner memory, went back to its most traditional, almost realistic shape. A weak, insecure voice, influenced by Rodin showed up first, and slowly refuting a bound to imitation, the now extended, expanded figures became characters. The highlight of this period is "The Cannibal". It appeared with great breadth and a life of its own. This sculpture marks the end and the beginning of a new path.
By a process of decantation, I ended up reducing the bodies until they reached their final consequence: bones, vertebras, spines. The skeleton is not necessarily a representation of death. It is our structure; it supports an original perspective of the human being immersed in his own interiority. Bones became limits, outlining space, defining the concepts of emptiness and void.
Figuration has been tremendously vital and powerful in the making of my artwork. It has given me the possibility to re-create sensations, feelings and states of mind.
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