My starting point is the magnificent and mysterious sphinx by the sculptor Pierre-Charles Van der Stappen, in its 1897 version made in silver and ivory. His work provides a bridge to classical Greek and Renaissance sculpture, from the perspective of realistic sculpture of his time.
I am interested in exploring the phonic quality, a presence-absence that manifests itself in the form of silence, a silence formed by light, ivory and metal, and by the way the hand cuts it in two and stops it. I have worked on the way in which silence advances towards the limits of the painting. If, after accepting silence and its nuances, I think about it carefully, I feel the need to violently detach myself from something that is taking over me and trap it in the limits of space, time and silence itself.
Fonica. Acrilic on canvas, 35 x 35 inches. 2017-2020
