If for Malevich the new order discovered in geometry presented itself as a new society, for me, geometry is a way of working with silence—a silence not devoid of content, but rather one that is its own, a paradox of non-communication through the sign.

When I exhibit, I mix—in this case—a painting from the 2014 "Emerging Universes" series with a current spatial piece, interventions made upon "objets trouvés" (found objects) and upon my own previous works, in an effort to constantly cross out and rewrite my visions. They could be extreme representations of reality—always fictional—or the harshest geometry, driven by the desire to reveal the internal structure of things: "sacred geometry."

An architect by profession and an artist by birth, I was granted the honor of intervening in the staircase of the Centre Pompidou for the MAF in 2018, and participating with a sculpture in the exhibition "La Isla" at the State Russian Museum alongside Emanuel Lafont and Victoria Sahores in 2016, in addition to several awards, nominations, and exhibitions.

It never seems to be enough.

For whom we paint and for what purpose remains the great question.