Grey paintings
The paintings depict interior scenes that feel at once domestic and theatrical, suspended between familiarity and estrangement.
A long table structures the space like a stage, anchoring the composition while figures gather around it in frozen yet tense postures.
The architecture is calm and restrained, rendered in muted greys, while the figures appear uncanny, their bodies heavy and sculptural, their faces distorted, masked, or partially erased. This contrast produces a sense of psychological pressure, as if the space itself were holding the figures in place. These scenes originate in a digital preparatory phase where the entire environment is constructed using Photoshop and 3D software. Architectural depth, lighting, and perspective are carefully simulated, allowing the space to be rotated, entered, and tested from multiple viewpoints. The scene is conceived like a theater set, with the artist acting as stage designer, orchestrating relationships between bodies, objects, and pictorial planes. Figures are posed through rigging, a process that introduces a virtual skeleton beneath the surface of the model.
Because it was you, because it was me. Oil paint and acrylic on canvas. 130 x 100cm. 2024
Rigging allows precise control over posture and gesture, as if manipulating marionettes whose attitudes suggest psychological states rather than narrative actions. Despite this high degree of control, the paintings resist a polished or seamless finish. Once translated into paint, the digital clarity is disrupted. Brushstrokes thicken, edges soften or collapse, and surfaces lose their certainty. Faces fragment or slip, replaced by zones of color, masks, or architectural elements. The figures oscillate between presence and absence, appearing less as portraits than as avatars or shells, bodies under pressure rather than stable identities. Paint introduces coincidence and resistance, preventing the image from becoming a mere execution of the digital plan and allowing sensation to emerge through material tension.
Within the paintings, framed images or painted scenes appear on the walls, echoing and refracting the main composition. These embedded images function like internal memories or echoes of art history, collapsing temporal layers and reinforcing the sense that the space is not simply inhabited but haunted. The figures seem aware of being seen, yet unable to fully return the gaze, caught in a state of exposure and withdrawal.
Because it was you, because it was me. Oil paint and acrylic on canvas. 130 x 100cm. 2024
Faces of death and existence. Oil paint and acrylic on canvas. 130 x 100cm. 2024
These works question the coherence of the human figure as a stable subject. The bodies depicted are neither fully organic nor entirely artificial. Shaped by digital tools, architectural logic, and painterly deformation, they exist at the junction between human presence and constructed form. Identity appears distributed across surfaces, systems, and environments rather than contained within the body itself. The figures do not dominate the space but are conditioned by it, shaped by invisible forces of control, technology, and representation. In this sense, the paintings reflect a posthuman condition where subjectivity is fragmented, mediated, and continuously reconfigured, and where the human emerges not as a given, but as something unstable, and deeply entangled with its technological and spatial surroundings.
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