I know it very well, and confess that rarely I have encountered such dilemma. The 'surprise' factor does not exist in my work.

I believe so.I treasure 'balance' in my work, trying to erradicate any superflous elements. I even finish signing the canvas at the back as I consider it a allien element in a composition.

There are differences in the procedures, techniques and materials deployed. In watercolors, for instance, white is given by the paper whilst painting on canvas i have to paint them myself.

Are you concerned about 'movement'
in your work?

Yes, that's why I use curved lines as I have realised that they embed movement qualities.

Because it enrishes the work. All painting is a language and I propose to express the maximum of ideas with the minimum of elements.

Sure. It is a process of reflexion following a intrinsicate work program, and which excludes improvisation.

The global concept of the work is always fixed. As its development evolves some variations naturally occur. 

I prefer to work in depth departing from a minimum collection of elements, and therefore I limit voluntarily the number of colors employed.

White, glack, grey, together with some touches of blue. Lately sometimes red and yellow tones appear in my painting.

Have you ever had the urge to apply at least 'one' more?

No. In fact I mix them with whie and black, which allows me to obtain subtleties within my spectrum.

What the mission assigned to
your color palete?

It serves me to accentuate regions in the canvas in function to the general order of elements.

And which mission to light?

I use it to achieve depth and contract to the different planes.

Why are you so intyerested in 'the line'?

For me 'lines' are like the pentagram to the musician. Straight lines give me stability and curves movement.

Do you use the straight and curve line as elements of order?

Yes, but each one is assigned with
different missions.

Have you ever been iterested in explore further from the two dimensions?

I try to create the ilusion of a third dimension with the use of light and the intensity of the colors.

Your work evoques a desire to
capture 'space'.

Yes. It is a necessary projection in the search for new dimensions, because painting in fact is always a fiction that tries to translate two dimensions into three, which therefore evoques the search of 'space'.

Why an architectural space?

I associate the concept of 'space' to architecture because it has been created by Mankind, whilst Nature has been given to us as it is.

Are you not afraid to become obsessional with the pictorial concept you have imposed in your work?

In my case 'obsession' is inevitable. I need to concentrate absolutely to deepen as maximum as possible my work and likewise extract as much content as there is to extract from the few elements I work with.

Have you ever been tempted to explore another route?

No, for the simple reason that I keep discovering new things which interests me much more than trying new experiences.

You prefer a 'good' work than a
'good' idea.

Indeed, definately I do.

Which influences do you recognise
in your work?

I would not be painting the way I do without previous master such as Klee, Mondrian, Kandinski...

Which vanguardistic school interest
you the most?

In principle I am open to all tendencies and experiences.

Essentially. Without freedom there is no chance for a valid creation. Freedom is the base of all work and any obstacle, or even the minimal interference, does only contribute to unbalance creation and the 'sense' of the work.

I am referring to all, because Freedom can not see limits  The artist must be able to work without any consitioning, which usually does not only come from the public terrain, but for example due to the pressure from galleries, art dealers, the critics, etc.

Of course. I have discovered 'my' writting, but from this deiscovery there is a vast route that can take you through many directions, and I want to have the freedom to take on any route that I feel necessary.