The Language of Paint is not a technique. It’s a rebellion, a storm bottled on canvas, a wordless scream that somehow manages to shimmer. It’s acrylics stretched thin as whispers, heavy-body strokes thick as thunder, and the alchemy of structure paste sculpted into topography.
This collection lives where color forgets restraint. Here, reds refuse to behave, blues collapse into oceans that never existed, and gold leaf burns like forbidden suns pressed into fabric. Every surface is a map of somewhere you’ve never been but swear you remember.
All works are crafted with acrylics, heavy body mediums, structure paste and leaf-metal, layered into a chaos that is strangely precise. The ridges catch light like mountain ranges; the cracks whisper like old cities; the gilded fragments remind you that nothing pure ever stays quiet.
The collection wrestles with themes of memory, entropy, faith, and the absurd desire to find meaning in splatters. There’s a reason some strokes look like prayers. There’s a reason some shapes echo ruins. There’s beauty in every fracture—even when the canvas looks like it survived a small apocalypse.
If you're asking “Why abstract?” the answer is always “Because words are cowards.”
This is not just painting. This is a love letter to chaos. To color. To the ridiculous, stubborn hope that layering paint can explain the universe better than language ever will.
“Galaxia dorada en noche tropical” — acrylic & gold leaf, 100×50 cm.
A golden Milky Way drifting through tropical blues. Sound on for trumpets + waves.
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“Pitemento” — acrylic on canvas, 30×30 cm.
The presence or emergence of earlier images, forms, or strokes that have been changed and painted over. Repentance in acrylics.
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“波紋 (Hamon)” — acrylic & structure paste on canvas, 20×20 cm.
Concentric ripples pressed into paint, like water remembering the fall of a stone. Circles that echo outward, carrying stillness and motion at once.
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