Psychological Context Applied to My Work

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Fragmentation of Identity
In my portraits, the face is never just one: it splits, repeats, and is cut by planes and sketch-like lines. Duplicated eyes, displaced profiles, grafts of other faces and “reading” geometries turn the face into a panel of layers, as if it were the browsing history of the self (the self for social media, for family, for oneself). This visual multiplicity embodies the contemporary experience of having “many faces” at once, simultaneous and contradictory.

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Symbolic Overload
In my colorist pieces I bring in signs, arrows, circles, emojis, breast-objects, caricatures, classical busts—all on the same level. This mixture of high/low registers mirrors the feed: the tragic and the banal coexist without hierarchy (Gaza next to a cat meme). I aim to provoke an affective dissonance: laughter, discomfort, and saturation. My paintings materialize this avalanche and turn it into composition.

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The Hybrid (from the Psychic)
In my stage-like works, bestiaries, dolls, wings with eyes, and limb-objects emerge. More than “futuristic” machines, they are prostheses of the mind: symbolic extensions of memories, desires, and fears. The fusion of flesh and object is not technological, but psychological: I absorb what I see until it blends with my identity. Here I situate my concept of Cosmology of Flesh and Dreams.

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Anxiety, Mutation, and Cartography
Many of my paintings include axes, measuring lines, vanishing points, and structures that function as maps. Faced with the constant change of references, I rehearse routes to navigate the unstable. I do not offer closed answers: I invite viewers to navigate, to move from layer to layer in search of meaning. For me, each canvas is a mental plane where the visible and the hidden negotiate.