Portugal, 1979


« The gradation of the blacks in at least two levels of opacity favours a more intense perception that makes it possible to insinuate volumes that emerge from a first layer replicating their geometric outline on the neutral background.

Obstinately mute, these latent figures question us about the transit between the visible and the invisible, as the material becomes present layer after layer, following a slow and careful process that involves the artist’s body until an impeccable finish is achieved. The result is a dense accumulation, of a matte, velvety black that could well function as an attractor of light, while suggesting a depth as ungraspable as it is magnetic, placing us on the edge of an abyss whose blackness implies occlusion, but also an incarnate, resonant presence that looks at us from the void (…)”.Art historian and critic Marta Mantecón wrote about the artist’s practice ».