Three series, one discipline: making visible what is sensed. Glazes, sanding and impasto that translate the mineral light of the coastline into a restrained language. Original artwork in acrylic on canvas, in formats between 50×50 and 150×150 cm.
A chromatic score where geometry learns to fall silent. Vertical blocks of Prussian blue, oxidized ochre and titanium white hold together without stridency: the rigorous composition inherited from Rothko translated into the language of the Mediterranean. The light isn't painted — it emerges between layers. The texture, achieved through successive sanding over dried impasto, reveals the canvas's material history.
Each series is a different way of asking the same question: what is the minimum needed for a painted surface to become presence? Mirages looks back, toward the light of memory. Géométries en Calme builds an order. Arquitectura del silencio raises a structure.
Transparent glazes built up over weeks, sanding that reveals underlying layers, minimal impasto where the light concentrates. A visual memory of the Mediterranean built by subtraction: painting is revealing what is already there. Declared influences: Antoni Tàpies, Mark Rothko, the light of Sorolla filtered through Nordic restraint.
View the full series →
Blocks of restrained color, rigorous composition, minimal gesture. Each work is built from an invisible grid that the paint gradually denies until only what is necessary remains. Rothko's chromatic silence translated into the material language of the coastline. References: Diebenkorn, Kelly, late Bonnard.
View the full series →
Vertical exploration: the canvas understood as wall, as section, as architectural cut. Each plane of color holds a note — a sound only heard through long looking. The most recent and most austere series. Influences: Sean Scully, Agnes Martin, the Mediterranean in winter.
View the full series →
I work in a high-ceilinged studio overlooking the Delta, fifteen minutes from the mouth of the Ebro. The light enters from the north; the floor is polished concrete stained with pigment. The walls have gone through many colors. Today they're white.
The studio isn't an industrial workshop — it's a space of waiting. Every work needs its own time. I work slowly, in long sessions, almost always with chamber music or silence. The sanding comes last: when the painting is already "finished," that's when it begins.
The Mediterranean, the Ebro Delta and the mineral light of the coastline are my permanent working territory.
I paint slowly. Each painting is layer upon layer: a conversation between the material and the time that material needs to reveal itself.
I don't try to make the work mean something. I try to make it withstand: to hold up under a long gaze, the cold light of morning and the warm light of afternoon, the collector's eyes and my own when I see it again years later.
Each channel has its own logic. Singulart and Saatchi Art for international collectors, with worldwide climate-controlled shipping. Instagram to follow the catalog day to day. Direct contact and studio visits, for longer conversations.
I host studio visits at the Delta on Friday afternoons and Saturday mornings, by appointment. Seeing a painting hung in its place — where it was made — changes the conversation. If you're interested in a specific piece, write and we'll arrange a visit.
Book a visit →