For my abstractions I let the stone express itself: I listen to it, I look at it, I auscultate it and finally I start carving it, gradually, letting it lead my hands towards its desired destination. Shapes start emerging as the stone undresses itselfusing my hands. Thus appears a fluid, organic and voluptuous form, as pleasing for the sight as it is for the touch.

My artistic approach integrates my scientific training, my sensuality, my love of mathematics and music, my sense of humour and my poetry. My creations often conceal subtle forms. I choose my humorous titles carefully, resorting to a wink, a pun or a spoonerism, in relation to the sculpture in its entirety. I compose them much as I do a poem, to convey hints about the subtleties Ive hidden in my work.

I introduce the following dimensions into my sculptures:

 Continuity: fluid transition between morphological components of the composition, destined to fuel curiosity and the desire to observe the sculpture from all angles;

 Negative spaces: empty spaces, or depressions suggesting an empty space, giving an air of fragility to the stone and sustaining the continuity of the forms by the skirting of such discontinuities;

 Polymorphism: presence of several more or less distinct forms, supporting an individual interpretation barely hinted by the subtle message hidden in the title;

 Contrast: an awakening of sight and touch through the opposition of smoothly polished areas of the stone to naturally rough parts left untouched to expose the original look and feel of the noble medium.

 

The Breeze

Brasilian Steatite

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