IN MY LIFE, IN MY WORK:

I have always loved drawing. When I was a child, I used to fill plenty of papers and class notebooks. I felt very comfortable in this way. Regarding the colour it was not the same.
I remember my draw lessons at school, where children used to use their colour pencils without any problem, whereas for me it, was quite difficult to distinguish and to choose the colour to utilize. I finally took the decision to go to the ophthalmologist and after doing the Farnsworth test, I was diagnosed with colour-blindness.

One of the advantages of urban landscapes is that, in general, they usually contain a lot of greys and browns, which reduce the problems in some areas or specific colours. Even so, I have dedicated an uncountable number of days and hours to my continuing colour studies, the reporting and comparing mixtures, writing down proportions, etc. in order to better knowing the possibilities of the colours I utilize, anticipate problems or understand my visual weakness with the purpose of compensate it. Obviously, it is not always possible but to assume it is so important as the fact of never been surrendered.

One day, I decided to change an element of the landscape. Since this moment, it became a kind of obsession the fact of trying to obtain an equilibrated ensemble going beyond the referent; working sometimes with a lot of images for only a painting trusting my intuition, because it is possible to foresee with accuracy the final result.

According to the composition, I usually take profit of closer elements in order to equilibrate the “visual weights” and give more strength and/ or depth to the landscapes.
I also usually change or modify some elements, trying to find the ensemble stability. Of course, I also look for a colour equilibrium avoiding as much as possible contrasts or stridencies, which could stray from the attention focused on the important elements. This laborious working system causes that several months are needed to complete a painting.