I have called this new series "Memories of the Skin", searching for a meaning in the solitude of the plunge into the painting. In my first leap into this pictorial way, and using basic concepts of art, I sought when I was young, to find a spiritual paradise, perhaps clear and temperate waters, in the incomparable landscape, an idea d'aprés Paul Gauguin. But the surprise was that I faced with discomposed lava, nothing to resemble a quiet and translucent paradise, just similar moves to swim in a volcanic matter, as the final attempt to get out of a spiral to produce an always endless equation, as it were, to solve a hell of symbols and numbers. Because painting never leaves us alone in peace when we are so close to it. And it is a surprise for me to hear some people say that painting has nothing to say anymore, indeed, people have said the same thing the last century, a great many times ...

But for me painting remains with multiple issues, drawing on with the strength that it is natural. And those deceptive claims never impressed me nor convinced me, because I witnessed with my own experience, that it was an untruth. And those committed and influential words would not convince me. Fortunately, the artist has his universe and, when in his time of working - I mean, those who develop their thinking - and believes in what, for many, would be despicable, and the story of many artists corroborates what I say. And what they publish today is that painting is "returning", when there is no news for me: I proceed to be coherent, like other artists, performing my painting independently.

By using the skin of the ox to the large canvas prints of this series, I thought it would be like a brush that left its marks, or a look that turned to the experience of painting of our ancestors and to the gesture that could register symbols of blood, of flesh, of life and spirituality, as if opening a book through its pages at a rate that shows all the illustrations in a perception of nervous palimpsests that presented a compatec idea of the entire History from the earliest paintings in which they wished the hunting, in the invocation of magic, to the concept which we live today, the image and the plastic thought, which exist in our minds.

The predominant color is crafted in exhaustion when I try to make it not only for its symbolic significance, but their natural vibrations on each other in a rhythm and electric thought, to weave them and balance them in the forces. The color of scorched earth like a shadow of the flesh, of matter, to contrast the black marks in the form of the entire leather and pieces cut out forming the masks, geometric symbols, the head and feet of the animal, in which I make reference to Picasso, its majestic "toro" in Guernica, which vibrates in the mind as one of the greatest symbols of the Twentieth Century art. I introduced impressions with other colors to suggest a dynamism and leave out of the nearly monochromatic, such as other views, in the same series, such as pure red, ocher, gold, bronze, and blue, leaving their meanings produced by the unconscious.

Gradually, as the works were carried out, trying to decipher what I was really doing, only now I can actually have rough reading and obtain a more soothing look, because in the process of construction, I have always had given me an exciting datum to realize "that" specific work, apparently without a rational reason. The images, textures, and colors, the motive, appear with no clear connotation, but obscure, perhaps coming from the manifestations of memory, which then become comprehensible in the natural understanding of life.

Olinda, May 2009