"Impermanencia" (Impermanence) is a series of paintings made in oils on canvas, which tries to offer a personal view on nature through the diffuse depiction of its elements. Some shapes attenuate in others and their identities tend to blend together due precisely to this Buddhist concept of impermanence that alludes to the lack of individual essence in things, subjected to perpetual change and extinction. At a time in which the urgency of the social-critical approach is imperative, I turn the look inwards to find again the meaning of existence through another view of reality, let us say a mystical one, where what is structured and shapeless try to dialogue with the most contemplative aspect of the human being. The tricks I base on to get the effects according to my proposal are many: the atmosphere is the main feature, assuming with this the softness of the outlines, the use of monochromaticity and limited gamuts; disturbing masses of clouds that materialize diverse shapes, modelled by the use of light as well as the distortion of some elements of perspective, but nevertheless keeping classic aspects of naturalism. They are all elements that as a whole become a personal way of tackling landscape painting.

What is this depiction, the painted landscape, but a transfiguration of reality? On the canvas,by no means will you find a way to come closer to objectiveness, quite the opposite: it will be the expeditious way to find yourself next to the peculiar and babel symbology of the artist, who will simply point out one course: his own. As the creator of this second nature, everything is new in the light of invention. The arbitrary color, the elements that can be recognized but also perceived in a state of conceptual metamorphosis, the rarefied atmosphere that seems to disclose in advance for us the disturbing shapes that commonly rustleslightly in the distance;all of that contributes to this altered view of the truth. There are no certainties, we must let ourselves be permeated by the imaginary construction and walk around it without expecting to find our bearings in a definite place. It is essential to breathe and with this rhythm grasp the new reality. There is no room for discursive thought, it is necessary to build a direct bridge to the image, otherwise any attempt of communication would be lost. Sometimes the artworks remind us of the scenographic tricks, the theater is evoked here: there’s an intention of leading the look, nothing is for free; the composition takes up all the attention from the measured and well-thought-out order of the elements. The balance is precarious, but useful to prevent leaving the beholder deep in listless apathy. If the spectator has sensed the enigma, the creator of these transfigurations will be satisfied. One cannot expect to say everything when the universe of doubt is so deep. May these canvases become one of the many doors to mystery, to the occult interstices of reality.