At the age of 22, I decided to leave my architecture studies and from then my training was essentially self-taught, avidly absorbing the guidance of the free workshops of Argentine painting masters that I attended in the late 1960s. Key in my beginnings was the conception of art as a synonym of freedom and personal expression that my first teacher, the painter Demetrio Urruchúa, transmitted to me in his workshop in Buenos Aires. In over 45 years of concentrated and passionate work, I have stubbornly dedicated myself to making my work evolve into an expressive and vital art that picks up the signs of Contemporary Art and those dictated by my intuition and sensitivity.

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On the abyss of the blank canvas, I superimpose my nervous drawing, and within it some primordial stains, which will determine the rest of the colors. At the point where the canvas is almost covered, I must stop and not look at it for a long time, it is a hopeful truce in which I feel that I have a promise of painting waiting for me. I return to it with the curiosity of those who think they are seeing it for the first time, in this instance I change, intensify, attenuate or preserve colors and shapes. I tend to intervene as little as possible and keep many of the lines given at the beginning. Already at this point, I feel the joy of having it under control and also the fear that too much applied work will kill the vibrations of my first brush strokes. No one knows the moment when a canvas ceases to be an essay and becomes a painting, one can only intuit or guess. Perhaps the plastic work is just an attempt, a willful and hopeful attempt to capture a certain type of beauty, which only resides in the senses of the author, and that perhaps can be transmitted to some receivers. Regarding the thematic content of my works, I have a tendency to focus on the human being placed in the most diverse situations, although to tell the truth I am interested in every element of reality and I cannot help but see it in its plastic possibilities, always feeling the need to distort it until it coincides with a certain interior canon in terms of its shapes and colors. In any case, I need to say something about beings and things, although sometimes I transfigure them until I approach abstraction. These references to my internal processes convey the illusion of building a bridge to the viewer, as an attempt to make them participate in my way of feeling and doing.