My current artwork is materially supported by oil painting and conceptually grounded in the pictorial exercises on materials in waste condition, using photographs or clippings from different sources as a model or visual reference, whose content refers mainly to historical episodes.

These painting exercises or essays can function as maneuvers that strain the very memory of the images –their temporality, context and materiality– considering Aby Warburg's work, the Atlas Mnemosyne, as a reference for the organization and categorization of the personal photographic archive and the group of images collected. These pictorial exercises maintain a conceptual direction concentrated in the procedure of recording in logs or diaries by means of writing and painting of rapid execution.

I consider the exercise of painting and the transfer of the photographic archive -from an institution to the street, from the private to the public- as a resistance or a mnemonic strategy against oblivion. A visual operation that covers or fills spaces of uncertainty. Images know no territory and memory knows no horizon line.