These paintings initially emerged as a hobby within my current light-based practice. Before I began working with light, my work was primarily pictorial and grounded in drawing. While developing my explorations with luminaires, electronic systems, and light devices, I found myself returning to painting as a more intuitive way of working. Unlike working with LEDs, electricity, and programming—which require rigorous planning and structure—the practice of painting allowed me to reclaim a space of free and contemplative experimentation.

​

In this process, the act of painting—particularly the sfumato technique inspired by smoke and clouds—began to take on a repetitive character that demands deep concentration, eventually becoming a practice akin to meditation. Painting thus transformed into a space where gesture, intuition, and the slow observation of the process take center stage.

​

Over time, images began to emerge that evoke landscapes seen from great heights. The forms started to resemble aerial photographs or satellite records where gases, rivers, liquid masses, and chemical reactions blend upon the same surface. The compositions present hybrid morphologies where land, sea, and atmosphere seem to merge into an amorphous, mutant mass with no clear boundaries between elements.

​

These paintings imagine post-Anthropocene landscapes. The Anthropocene is defined as the geological epoch marked by the impact of human activity on the planet; building on that idea, these works propose a visualization of what Earth's landscapes might look like after our existence—a world where chemical and environmental processes have profoundly transformed both the atmosphere and the territory.

​

During the exhibition process, a new exploration linked to light emerged. Some of these paintings are presented alongside shifting illumination that modifies the perception of the pigment color, generating constant variations in the image. In this way, the work ceases to be entirely static and enters a state of continuous transformation where color, light, and surface interact over time. The series remains an open field of experimentation where intuition, gesture, and play occupy a central place within my artistic practice.