In the same way, my paintings have lost the part that could give them any solidity, i.e.: the support. Thus, there is no canvas, wood, paper or any other type of material that could keep the painting in shape. Dripping, pouring or applying the paint with a brush, once dried, it becomes material and subject. The back of the painting is exposed, revealing, for the figurative ones, the initial drawing and the first brush strokes, while the front of the painting shows the final work as for a traditional painting.
The work can hang by its own weight or adapt to any shape over which it rests. I also explore the support to find possible new unmovable or "liquid" paint-support relationships.
I am deeply inspired by society and it is often the subject of my works, applying this vision into the study of the fabricated limit between the two and three dimensions.
My research brought me to a transformation of painting resonating with our time. Since 2009, I have been working on a new concept that I call “Liquid Painting”, born from the necessity to express society’s new characteristics. It is strongly influenced by Zygmunt Bauman’s concept of Liquid Modernity who describes the metamorphosis of modernity going from a solid to a liquid phase, characterized by a society in constant change. Men and women have lost their solid points of reference and have to become the more and more adaptable to circumstances that change faster and faster, hence they have to become fluid.
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