See and touch. It is not just painting, it is sculpture with
the paint itself. Landscape sculpted in ink.
The natural landscape that serves as a reference is, almost always, a forest or places with liquid surfaces. The forest can continue to
resemble visually a real forest but, the elements that constitute it are archetypes, stylized ideas of real elements, abstractions organic.
Photography is ideal for landscape, in its subjective objectivity, does not select what notes, although it allows studies of composition and color. Photography can, without filters or manipulations post-processing, cancel the three-dimensionality of nature, giving it an appearance two-dimensional and almost abstract.
The composition is related to the referent, but it goes beyond it and even annuls it. The composition is a synthesis, to which information is added additional pictorial material. The result loses, in varying degrees, its figurative qualities up to the total abstraction.
The illusion, given by the dimension of the work, which tends to overcome the viewer, and the movement not defined
allow the subjective reading of the work as landscape, even in the total absence of references visuals including the horizon line, or before an abstraction, without figurative content.
Negative space is a present concept, but treated as presence and not as absence, it is filled with real matter even when it is virtual. The work lives on the unstable balance between peers of opposites: figurative and abstract; painting and sculpture; order and chaos; objective and subjective; spontaneous and deliberate, and in this sense also sensitive and rational.
