started drawing many years ago as a hobby, because it relaxed me and helped me concentrate better; However, these drawings were isolated, in notebooks, along with notes and notes from both the school, institute and university, until one day they encouraged me to make these drawings on a single sheet, not as isolated drawings, and so I did.
I have long been drawn to modern art and abstract art,especially to Suprematist painters and Neoplasticists. In this way, these two artistic currents have been forming part of my strokes, the basic geometric forms and the abstraction of the forms, with an initial language that was unanimously blue and white that has evolved into colorful expressions despite the fact that blue continues to be my original language.
Thus, throughout this process, my drawings gradually went from being a hobby to something more serious.
However, if the artistic base of my drawings lies in Suprematism and Neoplasticism, my inspiration comes not only from authors like Malevich, Popova, Mondrian, Lucio Fontana and John Cage, but it also comes from the observation of my work reality , as well as the designs of the tiles that exist throughout my region of Spain: Andalusia.
n Andalusia, among the many traditions that took root in the region throughout history, that of tiles stands out especially. This artistic tradition has always been distinguished by combining aesthetics and functionality. This type of decoration has its origins in Mesopotamia and ancient Egypt, civilizations to which the first known glazed bricks are attributed. A legacy of Muslim art, Andalusian tiles reflected in their designs the historical evolution of different artistic styles.
I create a unique language born from the mixture of two different realities: one, my social and work reality, where the use of graphics and vectors is a constant and, hence, the almost compulsive use of these resources; and the other one, my Andalusian inspiration. The result are images formed through the repetition of lines and curves; images that do not have to be figurative, nor do they have to refer to recognizable elements, but to abstract, geometric objects and concepts, breaking the need for symmetry and with an Arabic soul.
To express my ideas and my world, I resort to the immediacy of pen and cardboard as my tools and materials. My artistic intention is to understand the creative fact in an immediate and simple way.
In this way I realized that I could not only dedicate myself to art in its purest state, but also work with both the ceramic and tile industry, as well as with other companies dedicated to interior design. And, in this way, return part of that inspiration with more modern and innovative concepts, being able to create unique spaces and objects in this format.
In this sense, I believed (and believe) in the originality of my style and was convinced that I could create groundbreaking collections; However, there was only one part missing: understanding the needs of my clients.
This is how I created a method for, together with companies in the ceramic and interior design sector, developing designs with innovative, exclusive, handcrafted and versatile concepts, which would allow them to differentiate themselves in such a competitive market with both a cultural and aesthetic proposal.