The physical reality of being human represents a great divide from the external world. It is limited, a scene that is internally closed, entirely insulated.
My work focuses on body language, and my interest in the variety of skin tones interned in the human body. I make use of sexual allusions, religious poses and imagery to associate the flesh with transcendence. Painting is about discovering invisible forces. I try to make these visible by distorting the body.

The earliest paintings were deeply inspired by primitive rituals (e.g. Madagascar's traditions which relate to their "death feasts", animal sacrifices and voodoo dance). The paintings represent and explore these spiritual relationships with regard to the human form.
The body, with its terrestrial side and its vulnerability together create a strange imagery where bodies seem swallowed, almost as if actors plunged into a stifling universe made up of bones, eggs and meat. The aesthetic is expressed through a brutal vision of the body. In turn, it evokes the duality inherent in human beings; outside/inside, internal/external.

In terms of composition, another facet of the body is scrutinized. In Ophelia 1, 2, 3, 4, 5, Cyclope 1 and Vivenda1, which are essentially close-ups, the body is seen entirely as an object. Every limb is distorted, point in different directions, and ultimately this composition of human form becomes a flesh landscape.

In my recent works, I make use of a single figure within a painting (Vivenda 2, cortex 1, Cyclope 2, Monster 1, 2). This approach draws parallels with the powerful religious paintings and iconography of the past.
However, I divide the format, dissecting parts of the body in order to break down the narration.

By making use of alternative perspectives and manipulating distance, I attempt to create human hybrids. As this process of re-assembling the body occurs, the meaning and significance of the "icon" becomes obscured. I try to suppress the obsession of the concept to find an intuitive knowledge. Even though everything is mapped out, within keeping of a structured logic, I allow myself complete freedom of interpretation. Nothing should be forbidden. An artwork doesn't necessarily need to be comprehensible, its success can be a direct result of being built on obscurity (in the titles as much as in the figures). The outcome, could perhaps, be the creation of a personal mythology.