THE LEGACY NARRATIVES - VOL. I

1. Is vocation innate? Is it found, constructed, or pursued? I suppose it's like an accident, one day you are a bricklayer and the next day you discover you want to dedicate yourself to something for your whole life... and passionately.

2. How would you describe your work to someone who is unfamiliar with it? I make very detailed paintings with a realist style, with meanings that may seem strange, but which end up provoking a pleasant sensation.

3. What does it mean to be an artist in the 21st century? It means being faithful to your artistic nature, doing what you really want, creating without caring if you are anachronistic or considered contemporary; it means having a broad criterion, so as not to disqualify any mode of expression, proclaiming your truth as absolute.

4. Why did you choose your style? Is it necessary to differentiate oneself with one? The style chose me since I saw a painting by Rembrandt in a Universal Geography magazine as a child, but although that emotion remained dormant for a few years, I finally woke up with a strong desire to try to paint reality to narrate my stories. When you are convinced about how you want to paint something, that clarity builds the path of a style that will differentiate you; but the objective is not in the search to try to differentiate oneself.

5. What do you try to express in your paintings? Emotions and sensations when one of my paintings is contemplated... I want the spectator to end up looking inward at themselves.

6. What artists have influenced your work? The greatest creators of all time who have interpreted reality, in each of their epochs. I am very fortunate to know and be friends with many of the great ones who are alive; they are my wonderful living masters.

7. What is the most difficult thing when painting? In every new painting I start, I put all my resources and knowledge into practice again without remembering how I did it in the previous painting. However, it is very difficult to paint the atmosphere, and the air, in a realist scene.

8. What is the most satisfying thing when painting? Internally, managing to capture together the veracity that my senses interpret from reality. Externally, the provocation of a dialogue about my concepts.

9. Why do people buy art? Perhaps to feel that they own a little piece of the most important and transcendent human expression: creation.

10. What gives value to art? Trajectory, quality, theme, format, gallery, market? The value of art goes beyond, because its worth will be confirmed when we are no longer here. But while alive, the phenomenon of art acquires its value through the manipulation of how and where it is presented, to be considered “art."

11. Do you prefer your works to be in museums or private collections? Why? Museums and cultural institutions grant prestige, elevate, and officially and publicly endorse the pieces they choose for their collections. Private collections grant the recognition given by a figure with a great capacity for knowledge and sensitivity to distinguish art, "the collector." It is a privilege and a fortune that our work can be part of both spaces.

12. Do artworks find homes, or do people find artworks? This is where the great importance lies for true gallerists as intermediaries to connect those encounters between works and people in a transcendent and constructive way.

13. Is transcendence an important topic for you? Why? Honestly, the older I get, the less interested I am in transcending; we are very insignificant individuals before creation.

14. What is the role of a gallery? A gallery should jointly and hand-in-hand build the trajectory and career of its artists so that they achieve their main objective: creating their true identity, with as few obstacles as possible. A gallery should commit to its artists, trying to solve their problems empathetically, providing real and individual solutions. A gallery is like a boxing trainer, involved at all times.

15. What is your opinion of Auction Houses and Art Fairs? Necessary organizations for the presentation of artists. They validate and grant status, as long as these institutions have credibility; I suppose that, as in everything, there can be fabricated appearances and vanity spectacles that can distort objectives.

16. How does one stand out in a globalized market? Unless, in addition to being an artist, you are a genius at commercializing your work (something uncommon in a painter), the ideal is to put yourself in the hands of someone who knows and understands the intricacies of the markets, for example, a good gallerist.

17. Should the artist's private life remain so? The main objective of an artist is to show their work. Although I consider it necessary to maintain a healthy and necessary privacy, the world and the way of perceiving artists is something particular, which is why their lives and circumstances are interesting to be analyzed.

18. Is there anything that you have not yet been asked and would like to share? I have met many exemplary people in my life in different areas; but exemplary people are also flesh and blood, with defects and virtues according to their life stages. Three years ago my mother died, and in January of this year my father passed away. They were exemplary people in my life... my humble homage and recognition.

19. What is the most important thing in life for you? Being able to have the natural capacity to be grateful. Continuing to seek the reunion with myself, to see if I can correct those parts that prevent me from advancing to the next phase as a person.

20. What could be the title of a book about your life? "Nobody."