The "fat" figures actually visualize them as mountains. They look real, but they are
condensed ../images like those of dreams. From our sleeper perspective, the ../images of
our mind are perfectly real and logical. From the vigil perspective, we recognize these
innocent ../images formed by a multitude of different personal experiences. It is
fascinating to try to crack this language code between our emotions and our reason.
Something like this happens with these works and we doubt, for example, whether they are
men, women, young or old. They are really a mixture of everything at once, like any
obsessive image. Despite being vital, they still have great architectural rigor.
From another perspective, they are a kind of mother goddesses, mountain spirits, something telluric reflection of my childhood landscape. Apart from the obvious human appearance, in general feminine, they evoke a certain orography that varies its format according to the different times in which I made them. They were changing, from explosive shapes to rectangular, quadrangular or fully embedded formats on themselves. Non stop being curious that something so simple in appearance (a person changing position) exerts this fascination for so many years and always address it as a new formal problem.