A DANCE of WATER and LIGHT in WAVES
Oil Paint on Canvas, 2008
An inevitable subject for me, for it is such a pleasant experience, is light reflected through water waves. The expression of its ongoing plasticity; energy that is conducted and lead into twirls, sways and spins by graceful mass displacements. It is a layered choreography which involves deep water arising, as well as surface water going back to the depths.
The theme is of dynamicity, of "moving forward" and regression. A metaphor of the making of meaning and sense of the world. The surface is penetrated by the light, warmed. The displacement of temperature then begins to demand an equilibrium with the cold below. Which forces it to regress into the depths and displace colder water from below to resurface. Regression and resurfacing are a part of ataraxy, a state of serene calmness.
The Birth of Zero
Oil Paint on Canvas, 2004
Emptiness is the precondition for the existence of presence. Presence is secondary, space is primordial. Being in its primeval state is, solely, a space filled by a discreet entity. And it is where and when the entity is all about surrendering to its surrounding space. Presence still at level zero. The moment before the baby cries for the first time, just through with being born, but not needy. Before absolute innocence, the mother makes it aware of her servicial and supportive kind of presence, an attentive and accommodating bearing.
The Image of Thought
Digital image / Imagen Digital, 2025
Human relationships from the origin of language are structured on master-slave dynamics as Lacan illuminates so beautifully. Yet, only on the requirement of cooperation can society not just thrive economically, slavery is good business, but can society constitute itself and therefore develop relationships where planet wellbeing is plausible. But as ridiculous as it is, the simple minded master-slave story has never been overcome. The master-slave mentality is based on the most negative principle of competition. Binary thinking as right and wrong, the need to justify ones existence through class struggle, identity (the clichés of the good and the bad), keeps healthy coexistence out of reach. This piece is supposed to look childish, naive and foolish. I titled it 'Master of Nothing'.
organs WITHOUT A BODY
Digital Painting, 2025
'A Body Without Organs' is Gilles Deleuze's and Felix Guattari's conceptual proposal of management executed, not by individualized organs tasked for specific functions and specific delivery, but through perception of the whole body in pro for survival. Awareness of wellbeing. Not focused on the recognition of malfunction, but on the perspicacity for happiness. In this work I expose my feelings of what I gather is my sense of AI entities, which in fact do not consolidate a body in themselves; less so as organs administrating for any state of superintendency. The bodiless aspect condemns any direction, and even less, any possible intention of a healthy system welfare.
Constant Surveillance skies
Digital Painting, 2025
When in times of peace, surveillance seems a need for the reliance of security, yet it inverts instantaneously when war is declared. Then this enabled form of sight means vast and extensive insecurity. Skies that once symbolized freedom, infinity in a positive sense as unbounded space, a beautiful canopy that protects the earth and plus it parts on fertility through rainfall, is now space for drone attacks, which represent termination, unconsciousness and, inhumanity. In these times of technology at hand, to be seen has become a power not recognized for what it also means, to be a target. Nothing is seen in its innocence.
Swimming with a Frog through wet Times
Oil Painting on Canvas, 2015
"Water is always written in plural" is a phrase penned by Octavio Paz which inspired me this labyrinthic, yet dynamic and, flowing composition. Plurality is a power, a way to enter any door or opening, no matter its fixed shape. Plurality does not mean multiplicity as in variety or differentiation, just a number of the same substances or instances. In this case it's about a number of instances of one substance. A frog is seen swimming in a streamy pool in moments through time. In this while, I tried to imitate but then furthermore pretend I was the frog to learn other swimming techniques.
The INTERNAL PARALLAXES of the ONE
Oil Painting, 2000
The 'death drive' and the 'inhumane excess in rationality' are forces that must be contemplated when considering a form of violence called creativity. Propelling in the most awkward directions for a different kind of "survival". This is in the sense of obtaining significance and thus remaining while not dying from abstruseness and obscurity. Expressions of creativity in spite of their brutality, must enter in strange ways the realm of the understandable. The somewhat fixated status quo is arquitected on revisited, recognized and constantly re-acknowleged formulations (here depicted by cooking potions). But these surviving processes are built through the force of creativity, which in themselves come from the renewal through premonition-ing change/death and foreseeing the need for change/death on part of the structure. Here, in the labyrinthic assembly, illuminated by the representation of expiration, the skull appears repeatedly on and as, parts of the structure.
The substantiated spirit
Oil Painting, 1999
These two images that make up a diptych, were of my first experiences with painting. As so, they are very simple images that show transformations in substances. Heavy matter can become lighter at special instances of dramatic change, storm and explosion, and mingle with the higher atmospheric air. It was my way to depict materialism as a condition that never disappears, even in the most spiritual realms.
Scribbling in the Mist
Oil Painting, 2006
In the style of graffiti, gesture, is this case is everything. What in Spanish is called a garabato, is close to the meaning of a single scribble, a doodle. What I focused on was the evidently recorded motion and varying forces of the hand because the two factors of the vectors give mobility to all the scribbles giving shape to the expression of circumstance.
CANNOT REFRAIN from MESSING UP something BEAUTIFUL
Oil Painting, 2014
As a show of power, if the landscapes reflect human labor, there may be a cause of satisfaction in the scar left by the conquest. Maybe a communication of exceptionality in the dimensions of the imprint of change on the planet. Cities are anxiety stimulators, the angst is provoked by a complexity that is solely achieved by regular shapes. It is the kind of randomness that thrives on variety, that which nature's ecosystems communicate, that is specially calming.
Tree in the Moonlight
Oil Painting, 2002
In this painting, the randomness of nature's elements, the tones and the effect of the wind, attain a silent musicality. The dynamic arrises when form and color meet. Time is the basic element in music, it is stated here by the shift of movement of the moon. Rising arcs that start on the upper left hand side of the canvas, in company of the diagonal made up by the twisting leaves, that start from the middle left into the upper right.
Indonesia faults
Oil Painting, 2004
A 9.3 Mw earthquake that shook the Sumatra island December 26 that year. It was the most power earthquake of the 21st century and, the one event that replicated as violently in my heart. The longest faulting duration ever observed and in parallel, it took me a year to distill the hurt. I was raised in the town of Medan, my happiest childhood memories were made there. The destruction, even enlarged by the tsunami, awoken my fears of losing the only place of origin in my mind, my dear homeland by affection.
From Right to Left
Oil Painting, 2021
After learning Arab language for some time. My eyes got accustomed to look to the far right to begin a "reading" . I was haunted by the idea to observe if it affected me in the act of painting. Does it invert our way into understanding? Would the shift in the order into perspective of the inspection show up aesthetically? Would it be revealed in the formal aspect, an inclination that would be noticeable? It certainly was a different experience for me.
The Struggle of Life
Oil Painting, 2001
My daughter was 2 years old when I was highly sensitized by the experience for caring and protecting her attentively on a new more demanding level. She now was starting to walk and gaining independence through the exercise her own will. There was much time for playing and experimenting. On the contrary, when out of the household I watched the agency played out by children living in misery. A bit older but not much, they were in full call of their instincts for survival. Violence and hunger drove the events, the communications, even of the little ones. I was reminded that my mindset so far from real situations, are distorted. Thinking is proper in the real when for the real, but cannot be integrated later in the realm of the real, just fitted in the idea of the world.