I have always been drawn to drawing and painting. I remember as a child always painting, trying out colour combinations and looking at everything around me to reproduce it in my own way. Although I have specialised in abstract and contemporary art, I also like classical painting, even though it is a completely different style to what I do. In my paintings I like to experiment with different techniques and materials, to achieve the effect I want to show.

Alternating between gestural spontaneity and sometimes planned conception, thus breaking with the intention of representing something purely specific, I represent my emotions, mood, light, atmosphere and nature. I try to maintain a predilection for abstract art, I use mixed techniques, with acrylic predominating in my latest works, often adding extensive textures, trying to highlight high contrasts, colors and subliminal shapes.

“My work predominantly focuses on merging the internal emotions of my subject with the external facade and masks people wear in public (hence, the title Deviation from Reality) moving away from the external to the true inner soul. Painting human subjects also fascinates me, with attention always in the eyes.”

...at that moment I simply drew the model in front of me and that's how I saw it and enjoyed drawing it. Poetry attributes meanings to colours. I unconsciously use colours and threads. Red and yellow are happy and lively colours that symbolize pleasure and life. The reproduction of the earth is represented in brown, yet black lines yield shape and movement to reach the climax. Everything harmonizes together.

My favorite subject is human communication with the nature sur-rounding it, and with mythical approach derived from Iranian pain-ting. There has always been a relationship between man and nature, mixed with myths. The relation to the height of the history of humanity, sometimes come from Eden and sometimes it is born of fire.

The landscape – of any kind I imagine or have ever seen - provokes something inexplicable in me. I paint landscapes because I need to look at them calmly; without the rush of seeing them from a car or from a window or in any way that makes them ephemeral: the clouds, with all the shapes they build up in a matter of seconds; the mountains with all their curves, some more sensual than others; the trees (...). In short, all colour schemes, which if we stop to observe them with our eyes half-open, we can turn them into whatever comes to mind without them ceasing to be completely beautiful landscapes.

How to meet fish if the sea is not near and the shores of any river cannot be seen on the canvases. However, they are all there, lying in wait. A Socratic doubt will help the perceiver to look with all the necessary prejudices to unravel the puns camouflaged by the pigments. He ought to listen to the chorus of voices that inhabit abstract and flat surfaces, spirals, intermingled forms [...] in a single or multiple dimensions, in an infinite space, and a time that expands, to become “instruments of the poetry of the canvas" [...] (C. Escala Fernández).

Inspired by his childhood memory of almost idealistic integration of utopian community in which he grew up. After the village demolished, and the community dispersed to another location, the artist began to sketch, paint, and study the remained fragment of houses. He explores the remains of ruined village searching for patterns of partially defined spaces, forms and order. The experience which he gained from the aftermath of once happy community intrigues him to ask what was the invisible force which design and maintain that urban Arcadian physical and mental environment? How is he affected by it?

I believe in artistic practice as a means of knowledge, a path towards the spirit, and a constant search for the magic inherent in the universe. The work is the testimony of an enquiry into everyday life. The various presentations are evocations, searches, contacts with the desire to penetrate the flow of life.