The works presented belong to a recent body of research and are developed in medium and medium-large formats, through both canvases and Life-Boxes, elements that extend painting toward an object-based dimension. In all cases, the surface is never a simple support, but a space of stratification and accumulation, marked by layers, veils, and abrasions.

The technique is based on the use of powdered pigments and oxides, charcoal, and ash, mixed with acrylic binders. The pictorial matter appears dense and irregular, maintaining a constant tension between control and chance. Color is never merely decorative, but deeply connected to its physical and tactile presence.

The compositions are often structured in horizontal bands, evoking unstable horizons, inner landscapes, or geological sections. Lighter areas interact with darker, more compact fields, creating gradual transitions rather than sharp contrasts, as if each image were the result of a slow process of transformation.

In the Life-Boxes, the physical depth of the support enhances the object-like quality of the work, which appears as an extracted fragment, almost archaeological in nature. The restrained color palette—dominated by earthy tones, greys, and deep blues—encourages a slow, contemplative viewing.

Within the context of Wall, these works establish a quiet yet intense dialogue with the space, inviting viewers to read the surfaces as traces, incomplete maps, or territories shaped by time, where meaning remains open and unresolved.