Forms are shaped by space. Unity is not viable except in the imagination. The reality created by thought stands in opposition to perceived reality; it becomes visible in the expressive structural relationships of the pictorial field — an illusionistic mirror that reveals the reverse of the world.

Abstraction emerges more through psychic reactions and emotions than through the conformity between the object and human perception.

There is a conflict between the pictorial element and compositional construction. There are no boundaries between thought and reality. Hence the need, and the fulfillment, of seeking through experience and the desire to reveal the metaphysical absolute, relating it to the objective world of material nature. This establishes a conflict between pictorial elements and pictorial construction.

STRUCTURAL GEOMETRY

Geometry, understood as a diagram of structural forces, determines the order in which spatial forces operate — a relativity of things in space. Articulated through rhythmic analogy, the figures then emerge as mutable energies in time, while the gaze is drawn toward luminous tensions.

The organization of a unity composed of discordant “things” results in a fragmented whole; yet these differences come together once again to form a unity, and structural correspondences remain ever-present.

The conception — or transposition — through abstract metaphors is expressed through the energies and actions of pictorial texture. Symbols emerge as contradictory principles.

The work — the composition — reaches its final form through a continuous process of reworking luminous tensions. Pictorial matter is, in essence, concentrated light.