From the Mind to the tip of the brush

In recent times,  I’ve been exploring the 3 dimensional representation of thoughts, I’m exploring the use of 3D objects as canvases, this has led me create a three stage process:

Stage 1


After defining an specific concept for the piece, I start by creating a narrative oriented shape. As I create this shape I try to focus on the different possibilities of the overall shape avoiding going into to much detail, in this stage I also avoid thinking about specific images I want to use.

Stage 2

I use this object´s faces to place images and color in order to compose a “three dimensional image”. Although I keep thinking on the concept I try to let it evolve by not focusing on an specific narrative but only on the formal value of the piece until I reach a point where I feel it is completed. So far, I always print the piece before starting this stage.

Stage 3


When I’m satisfied with the sketch I start to paint on the object, so far I’m trying to paint an accurate copy of the images I used for the sketch.

Reflection about Stage 1

Creating 3D shapes as a way to represent concepts is an exciting challenge for me, I can’t explain it but it just feels right, is like giving voice to a part of my brain that is able to do this without giving me a conscious and structured feedback. I’m definitely want to explore this further more.

Reflection about Stage 2

I think that in this stage is like a game in witch I present images to my mind in order for it to arrange them while mixing conscious and less conscious decisions, although I know I’m thinking, I’m not able to fix an specific outcome. Working with both Illustrator and Blender has created an unsuspected additional challenge for the visual composition; on one hand, working with the vector UV map forces me to arrange elements in an order that is dependent on the 3D model, so I have to change into blender in order to see the end result, this is not a direct process and this separation forces me also to work from memory. On the other hand, because of the properties of the 3D environment, my end result is an ever changing 3D image, so maybe my mind switching on and off from consciousness has to do with the fact that my brain recognizes the impossibility to find a fixed narrative, so then I have the opportunity to see the piece as an abstract representation.

Reflection about Stage 3

At the moment I’m trying to control the outcome by doing a faithful painted copy of the digital sketch, I guess this is my way to avoid getting lost or even destroying what I have accomplished in the other stages, and even though this seems logical, I have a feeling I can enrich the final outcome by letting physical expression take its part, for this I want to create bigger canvases to see if I am able to use paint strokes to blend the apparent edges between abstraction and representation.

Francis Bacon

He was an Iris born British painter, he has been a huge influence for my work and now I am beginning to understand why.

This are some particularly interesting quotes I found in this video:

…”When you go into a butcher’s shop you see the beauty of meat”…” when you think about it, also you can think of the whole horror of life, of one thing living of another”.

…”How do I feel”…”How can I make this image more immediately real to my self”.

…”people like to get a meaning for everything”

…”But it is truth to say that off course, that when you paint anything”…”you are also painting not only the subject but you are painting yourself as well”…”painting is a double…it is a dual performance”.

“I want a very order image but I want it to come about by chance”…”one wants a thing to be as factual as possible, and at the same time, as deeply suggestive, or deeply unlocking of areas of sensation other than simple illustration of the object that you set out to do”.

“The subject of meat is such a marvellous subject matter”…”If you go into some of these great stores where you just go through this great holes of death, you can see meat and fish and birds and everything else, all lying dead there”.

On a recent trip to Barcelona I visited La Boquería market, there I found a huge contrast between different subjects, I couldn’t help to see this place as a “Baconian” place, full of strong scenes with bright colors, I was also attracted by the mix of scenes. A fruit shop with beautiful fruits on display, a butchery with dead animals and a bakery stuffed with delicious pastry and biscuits.


Anthony Caro

He was an English Abstract Expressionist sculptor.

My interest:

I really like the way he changed the way sculptures are viewed, not over a counter or a pedestal, but from the flor, as if they are an active part of your surroundings, I’m also interested in the way he constructs the narrative, it is like you can approach the piece from different angles, there is no main feature, it is more like you are entering an experience.

Work of art that I find interesting:

Early One Morning 1962 Sir Anthony Caro born 1924 Presented by the Contemporary Art Society 1965
Early One Morning 1962 Sir Anthony Caro born 1924 Presented by the Contemporary Art Society 1965
Yellow Swing 1965 Sir Anthony Caro 1924-2013 Purchased 1965
Yellow Swing 1965 Sir Anthony Caro 1924-2013 Purchased 1965
Emma Dipper 1977 Sir Anthony Caro born 1924 Presented by the artist 1982
Emma Dipper 1977 Sir Anthony Caro born 1924 Presented by the artist 1982


Howard Hodgkin

He is a British abstract painter although he describes him self as an abstract figurative painter, critics thin of him as an abstract poet.

My interest:

I am interested on his work because he tries to represent complex situations using figurative elements in a non explicit way. The titles are an active part of the work of art.

Work of art that I find interesting:


Mr and Mrs E.J.P.
1972 – 1973
35 ½ x 48″, 90.5 x 122cm
Oil on wood


1977 – 1980
16 ¾ x 44″, 42.5 x 111.7cm
Oil on wood


1984 – 1992
67 ½ x 72 ⅞”, 171.5 x 185.4cm
Oil on wood