Wood, fire, coal, minerals, are recurring themes in my work and allude to my interest in the passage of time. The work moves between constant becoming and the past charged with romanticism, arbitrary ways of being that coexist on sheets of paper. The drawings conform extensive uniform textures, also dwelling on the specificity of the mineral, identifying its pattern, its unique being. These entities take on another magnitude when they coexist with dreamlike landscapes, which refer to Japanese drawings, interspersed with the indefiniteness of the line and the shape. The collages are small in format and feature sections of human figures along with landscapes, rocks and geometries. The ink or charcoal drawing centers and organizes selected black and white paper cutouts from fashion magazines. The work in principle is intuitive, expanding to form various entities that refer to a totality in the reading of the set. The hands work automatically and the head has nothing to do. So I think of everything, in every little detail, I go through each segment and then I start to walk away, to dissolve in dreams, in my own instability. I'm going as far back as I can remember. The melancholy of my own being reveals my state of mind. Once the pieces are arranged on the blank sheets, fragments of women are configured, carrying their own and others' demands. Cut out they emerge from an intricate drawing, as if wanting to escape from the tangle. Some come out, others get caught. Their shadows are geometric. The fonts are positioned balancing the image. Later the set remains immobile, nor the wind can move them, everything is past. I suffer for the loss of the loved object, but I verify with each stroke, with each small stain, placed there as the symptom of certain death, that I have no other place to go.