I view each subject as a system formed by interrelated elements, ­present either singularly or in groupings­ that lead to emerging patterns with unique dynamic fingerprints, identifying the whole and illustrating its existential impulse.

My desire to understand the essence of reality and the experience of consciousness has drawn me to a palette of diverse disciplines: physics, chemistry, biology, neuroscience, psychology and philosophy, among others.

My work seeks to give a visual representation to these complex systems by eschewing a realistic depiction of the subject in favor of an abstract representation of its essence.

In the way that Yayoi Kusama’s Infinity Net series or Infinity Mirror Room utilize repetitive patterns or dots along the surrounding negative space to reflect on the concepts of infinity, the Universe, and the sense of self within the existential vastness, my work is rooted in the elemental traces and in how they can represent ontological elements.

I use the minimalist elements of dots and lines to generically represent the elements of a system. These geometric elements present an aesthetic code with their own intrinsic information. By superimposing them and coloring them in contrasting ways, I create rich dynamic energetic textures – representing the composition of a system ­­– in spite of the simplicity that each component brings as a singular geometric element.

My creative process is spontaneous. I use two approaches to trace lines. The first one is born from my scientific mind seeking to deconstruct any subject into its elemental parts, propelled by my emotional state. It involves a fast-paced line tracing for the bigger, backbone elements of a piece at the opening stage. The approach that follows is integrative. It connects those perceived parts into a dynamic, interrelated system yielding a more accurate representation of the subject. This is accomplished by the patient repetition of smaller lines through a watchful, inquiring, and meditative approach, seeking to reveal the affordances provided by the negative space and the existing elements from the still-under-construction, emerging pattern.

Using the power and beauty of symmetry and asymmetry, I seek to focus the viewer’s attention on the macroscopic pattern of a work, enticing them then to be attentive to its composition. Through this engagement, I aim to inspire in the viewer a curiosity that may lead them to extrapolate this perceptive practice to all that exists in reality so as to discover the omnipresent beauty and complexity of the elemental minutiae in all that surrounds us.