I have been using the anatomy of the human face as a reference, a resource and a means to an end, because of its plastic potential. A mocking face is a gesture that transforms any face into a malleable matter, like paint.
My background is mainly figurative, and this has determined my work up to now. I have tried to challenge the traditional conventions in the relationship between figures and background. I have separated both radically by using combinations of visually striking colour fields. In doing so, I have discovered that I can create a dialogue between figures and background. Moreover, the abstraction and geometry of the wide opaque colour fields in the background allow me to articulate space in a synthetic manner.
As they have grown bigger, my paintings have gained an immersive scale to create situations that connect them with installation art and my current project. I do not use scenes taken from quotidian situations with mocking faces anymore. Instead, I have incorporated images from the big screen and spectacle world. The actors are iconic figures that I deprive of the connotations of the characters they play.
There are two ways of pursuing this: on one hand, I capture instants that do not match with the attributes that build the character they represent. On the other hand, their faces are decontextualized and set on an empty background. Moreover, I distort the faces by combining symmetry and some strategies that disfigure and blur them. In doing so, I obtain a specular image where the reflection is a result of a double ambiguation of the figure: it is both deprived of the features set by the script but also of its own physiognomy.
