The Square… the Cube…
The Architecture of Forms and Perceptions
My path as a painter and sculptor
My journey through the world of art is deeply rooted in my background as an architect.
Every line drawn, every volume sculpted, every shade of color is influenced by this architectural training that shaped how I perceive, interpret, and represent the world.
The square format—with its right angles and equal sides—has become both an obsession and a passion.
Why? Because it offers perfect balance, a blank canvas for artistic exploration.
Each square painting I create becomes a window into human posture. It invites me to delve into the subtlety of every pose, every gesture, and to reveal their depth.
To me, the square represents both a space of freedom and a space of challenge: a structured frame that demands great creativity to reach its full potential.
When I venture into sculpture, the square expands and comes to life in the form of the cube.
This simple geometric volume, so rich in possibilities, offers me a new dimension for engaging with the human form.
Through it, I explore how light dances across a surface, how shadows deepen and sculpt space, how perspective can be manipulated and reimagined.
The transition between these two worlds—from flat canvas to solid volume—is profoundly influenced by my architectural background.
In architecture, everything revolves around space, proportion, and harmony.
Every space, every material, every detail has its purpose, its message to convey.
The same goes for my work. Each line, each texture, each color tone is carefully considered and executed.
The oblique or the curve may then become the disruptive elements of this balance, bringing a composed and destabilizing tension to the work.
My architectural education also taught me the importance of support materials.
Just as the choice of materials can make or break an architectural structure, the support in art deeply influences how a work is perceived.
Canvas, wood, metal, glass—each medium brings its own texture, its own resonance, its own way of interacting with light and space.
The world of art is vast and varied, and every artist finds their niche, their favored space of expression.
For me, it lies at the crossroads of architecture, painting, and sculpture.
It’s an endless playground—a constant dialogue between the rational and the emotional, the concrete and the abstract.
Each new piece is an adventure, an exploration of what it truly means to “represent.”
It’s a never-ending quest to find the right balance between form and content, technique and emotion, structure and fluidity.
And it’s precisely within this search, this constant movement between opposites, that I find my deepest passion and source of inspiration.
Each painting, each sculpture is an invitation to walk this path—to discover and rediscover the transversal nature of this practice.
The Essence of the Square: Postures and Perceptions of a Contemporary Figurative Artist
In the artistic realm—where shapes and formats intersect, overlap, and sometimes contradict one another—I’ve found myself drawn to the deep simplicity of the square.
As a contemporary figurative artist, I dive into this format to explore and better understand the complexity of human posture.
At first glance, the square appears static, contained, almost rigid.
Each side mirrors the other in perfect symmetry.
But it’s precisely this uniformity that offers a challenge:
How can such a defined space capture the fluidity, dynamism, and constant evolution of the human form?
Within this balanced frame, every silhouette I draw, every posture I capture, becomes a dance between freedom and limitation.
The square forces me to consider every centimeter of space, to be conscious of each choice, to play with the tension between the human form and its constraints.
Posture, then, becomes more than just a representation of the body—it’s a reflection on how we inhabit and interact with space.
The square is a backdrop that highlights the slightest tilt of a head, the subtlest of gestures.
It exaggerates empty spaces and emphasizes those that are full.
In this dance, the square is not merely a passive observer, but an active partner—challenging each posture, pushing it to express itself in new, different, bold ways.
My journey with the square has also led me to reflect on how we perceive our own place in the world.
Just as the human posture must navigate the square’s frame, we constantly move through frames imposed by society, culture, and even by ourselves.
Each artwork, then, becomes an introspection.
The figures I create—whether they stand tall, stretch toward the edges, or curl inward at the center—speak of our own search for identity and understanding.
They tell stories of confrontation, adaptation, and ultimately, harmony.
In the end, for me, the square is not a constraint, but an invitation—
an invitation to explore, to challenge, to rethink and redefine.
Within its right angles and equal sides, I find an infinite world of possibilities—
a space where human posture and artistic perception meet, confront each other, and finally coexist in striking composition.
