Core Concept

​

Each project I face, whether a commission or a personal project, emerges as a first mental image. Then, along with the sketching, I consider possible variations or adjustments depending on what I want to convey.

 

Through symbols or metaphors, I add ideas from my personal background, sometimes with the intention of reaching the viewer and others with meaning for me.

 

There comes a moment when one of those approaches, somehow, moves some spring that leads me to decide that I must model it. One of the most stimulating parts of my work consists in devising the path I must follow to achieve that representation.

 

I always visualize the process in layers, that is, from the initial wire structure to the proportions and volumes I want to achieve, leaving the details for the end.

 

Once the procedure has begun and during the journey, I leave quite a lot of space and, in fact, I especially enjoy creative detours and unexpected inspirations. Many times it is as if the work decided by itself where to continue, I simply accompany it.

 

To begin, I dedicate a lot of time to shaping the skeleton or “soul” of the figure. Although it may seem like just a wire, it is fundamental for me that, in its stillness, it suggests presence and movement.

 

To achieve this, I play with the body language or general attitude of the character and the points of tension in its limbs, such as the phase of an action, the weight of the forms, or the intentionality. Often, a slight tilt of the head or a subtly raised shoulder has much more effect than a more defined pose.

 

All this without losing sight of the total silhouette of the piece, which must be balanced and in harmony. I am satisfied when the structure has musicality and rhythm in its lines.

 

With this explanation, it may seem that I seek sophisticated or convoluted poses. Nothing could be further from reality. I like simple postures, but that simplicity hides a whole language.

 

Also, to give life to the figures, it works very well for me to force implausible balance points, for example when the support area is smaller than the upper one. In this way, it gives the sensation that the character itself compensates for gravity, suggesting nerve.

 

In the volume phase, I usually look for curvilinear forms, contrasted proportions, and very polished surfaces. I like to brush against a slightly excessive thickness to reinforce the presence of the work.

 

As for the details, I am attracted to contrasting defined edges with more rounded ones, slightly faceted areas, and reliefs that simulate digital three-dimensionality. I tend to let myself be carried away by horror vacui, whether in modeling or, later, in painting.

 

Color is something that quite defines my work. I generally use softened vibrant colors, with combinations halfway between graffiti, video games, and cartoon. The finishes are always matte and with homogenized texture.

 

My work, to a greater or lesser extent, is about translating ideas or concepts into decorative objects, stimulating forms, and striking colors.