Drawings
2017–2025
India ink, charcoal, watercolour, and lithium on paper: markets, processions, rites, and vanished lakes — the line searching for form before the clay.
The flames neither punish nor consume him; they envelop him. Around him, the grey crowd watches. There is something of a return in this offering, a reconciliation with nature. The work does not speak of fire, but of what happens when a being reconciles with a truth others cannot see. In a world where such reconciliation may seem heretical, the man remains calm while the others look on, unable to decide whether they are witnessing a tragedy, a revelation, or another form of freedom.
It is Bolivia, but it could be any corner of Latin America. More than a place, it is a form of encounter: people who arrive from far away with something to offer and leave with what is needed to sustain life. The gestures repeat themselves, precise, ancient, as if they had always existed.
The figure advances, tired but firm. We do not see the face, and yet something deeply human is recognised in this return. Between the effort of the mine and the intimacy of the village, the journey becomes a silent gesture of affection, an everyday way of coming back to one's own with full hands. The outside world moves away without entirely disappearing.
The figures seem to be anonymous workers inhabiting that uncertain moment between darkness and urban activity. Every city rests on tasks we rarely look at.
Carnival is proposed as a rite of transformation, where the mask stops being a simple veil and becomes a threshold between the human and the sacred. In this space of syncretism, celebration is at once memory, resistance, and devotion.
The passage evokes the instant when the body answers the call of the rite. The leap is neither arrival nor departure, but passage. On that threshold, carnival and devotion merge into one same transformation.
A man rows alone in a boat. The movement is slow and the water seems dense. He advances as if crossing something invisible that surrounds him without showing itself. The scene belongs to the series Ritos a Yemanjá, where the sea is not only a landscape but a presence.
On the Atlantic side, at dawn, families make their living from fishing in the immense Yemanjá.
Among the stalls, the porters, and the improvised paths, her figure remains serene, as if she belonged to a rhythm older than daily haste. Around her the movement continues without disturbing her, as if it passed through her without carrying her away.
In 2015 and again in 2021, the lake disappeared. Its surface turned into desert.
In these works lithium enters the very composition of the drawing. Through luminescent strokes and subtle glints, it merges into the colour palette, standing both for its material presence in the landscape and for its geopolitical and economic symbolism on a global scale.
Or the tragic chronicle of a civilisation, victim of its own voracity.