I studied at the University of Puerto Rico a Bachelor in Art, concentrating in painting. I am interested in researching aspects of the relationship of painting with sculpture and architecture. As the son of an Argentinian and a Puerto Rican I am aware of the significance of non-figurative painting in Latin America.
My work is inspired by the possibilities of scientifically precision, color and concrete mixtures in large and small-scale nonobjective work. Pursuing the idea of color perception at a threshold level of minimal change, the work is composed in a very subtle light. These basic shapes are then developed with an incredibly elaborate system of finely calibrated gradations and mixtures that give the finished work an uncertainty about the process and materials.
My most recent work is a series of 12 paintings grouped under the title Cardo and Decumanus. This title refers to the two main highways of the ancient castra of the Romans orienting the organization of the military camps north and south. In my paintings the arrangement of the pictorial plane partakes from this spatial orientation but stems from an architectural model in relief and from the designs of Spanish Catalan hydraulic tiles used in early 20th century in Puerto Rican and Dominican Republic houses and buildings.
In this work the color is subtle; it also has an extremely physical presence and has a preference for materials and surfaces that seek the effect of flatness, immaterial abstractness and timelessness. Whiteness, in Le Corbusier’s words, serves ‘the eye of truth’,  mediating thus moral and objective values. In my work the surface is treated as an abstracted boundary of volume, and has a conceptual rather than a sensory essence. These surfaces tend to remain mute, as shape and volume are given priority; form is vocal, whereas matter remains mute.
The horizontal and vertical relief grid that appears in my paintings can be associated to a large map of any contemporary city. In some of my paintings the grid is superimposed many times leaving traces evocative of the changes of cities’ sprawled center. These images merge the structure, rigidity, and linearity of the grid with, in some cases, the splatter, spontaneous and fortuitous painterly composition. Although the grid is a precise, mathematical and rational tool effective in setting boundaries in a map, it is also a means to register change.
I want to show in my artwork the framework of human action, the setting where boundaries are imposed by man and where constant change is imposed by life. Order and chaos, precision and imprecision are the binary opposites of the same coin that can be expressed in terms of the pictorial space treated as a three-dimensional relief analyzed by means of a grid, the design of hydraulic tiles and an architectural model. My work is inspired by the writings of contemporary architects such as Mansilla & Tuñon, Lebbeus Woods, Peter Zumthor and Tadao Ando and the work of Eduardo Chillida, Donald Judd and Franz Ackerman.
In the near future I am also interested in exploring the notion of void and the positive space; as appreciated in John Cage’s music or Chillida’s sculptures. I want to focus on the materiality of the pictorial object disregarding its illusionistic possibilities.