ÉTUDES

Étude nº 200, 2017. Acrylic on canvas. 114 x 162 cm.

Étude nº 197, 2016. Acrylic on canvas. 80 x 120 cm

Installation view: La Mesure du Temps exhibition at H Gallery (Paris, 2017)

Installation view: La Mesure du Temps exhibition at H Gallery (Paris, 2017)

Étude nº 187, 2014 (detail) Acrylic on canvas 200 x 200 cm

Étude nº 187, 2014. Acrylic on canvas. 200 x 200 cm.

Étude nº 187, 2014 (detail) Acrylic on canvas 200 x 200 cm

Étude nº 187, 2014 (detail).

Étude nº 177, 2014 Acrylic on canvas 114 x 162 cm

Étude nº 177, 2014. Acrylic on canvas. 114 x 162 cm.

Étude nº 177, 2014 (detail).

Étude nº 177, 2014 (detail)

Installation view: Galerie Artemper, Paris (France), 2014.

Installation view: Galerie Artemper, Paris (France), 2014.

Étude nº 170, 2014. Acrylic on canvas. 160 x 120 cm.

detail-etude-170

Étude nº 170, 2014 (detail).

Étude nº 172, 2013 Acrylic on canvas 160 x 120 cm

Étude nº 172, 2013. Acrylic on canvas. 160 x 120 cm.

Étude nº 169, 2013 Acrylic on canvas 160 x 120 cm

Étude nº 169, 2013 Acrylic on canvas 160 x 120 cm.

Deux Études, 2013. Acrylic on canvas. 146 x 114 each. Vídeo, HDV 3’12’’ each. Installation view: “8º Premio Auditorio de Galicia”. Santiago de Compostela (Spain), 2014. Click here to watch the videos.

Deux Études,  2013. Acrylic on canvas. 146 x 114 each. Vídeo, HDV 3’12’’ each. Installation view: “8º Premio Auditorio de Galicia”. Santiago de Compostela (Spain), 2014. Click here to watch the videos.

Étude nº 150,  2013. Acrylic on canvas. 120 x 160 cm.

Étude nº 150,  2013. Acrylic on canvas. 120 x 160 cm.

Étude nº 105,  2012. Acrylic on canvas. 130 x 97 cm.

Étude nº 105, 2012. Acrylic on canvas. 130 x 97 cm.

Etude-101

Étude nº 101, 2012. Acrylic on canvas. 120 x 160 cm.


In my “Études” I explore the temporality of the pictorial gesture. The paintings are the result of the rhythmic repetition of the same circular gesture that leaves a mark on the surface of the canvas with the addition or subtraction of paint. The repetition of this gesture creates a weave on the pictorial surface. Thus, the final image is the result of overlapping layers of painting that give the rise to an infinity of subtle variations in colour and depth games.
My art is directly related to another facet of my life, music. As a pianist and musical performer I translate the signs of a score in a choreography of movements on the keyboard that lead to sound. In the case of painting the choreography of movements, gestures creates the marks on the canvas. The term étude (study) comes from the musical field. In music an study is a piece intended to work a specific problem (usually technical) which translates into a gesture, a concrete physical movement. Usually, studies are built around a single musical material, rhythmic and melodic patterns which are repeated with slight variations, and create a continuous musical writing that visually reminds one of a tapestry.

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