My work becomes a product in which ideas, actions, and thoughts are circumscribed in a society where existential absurdity manifests itself as the first order, leading to a rational derangement that swarms in every corner.

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.

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.

Creativity is like another world, the world that you draw on paper or canvas by adding colors that you choose yourself. Sometimes, this world is so secret that no one but you can solve it. […] Art is my reason to live and I always make sure that my creation comes from the heart…

The work is an exploration of the power of color and texture to evoke an emotional or visceral response from the viewer. The process starts backwards, as I begin with a background and allow the image to emerge from it: almost like carving a sculpture out of stone.
Unlike when I restarted, I no longer seek to erase the vestiges of the process, so the finished pieces contain the layers of the process of continuously simplifying and refining the work. In the end, only the essential elements are left that connect the viewer to the work, or at least, that is my goal.

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.

Everything I have created, both in painting and in performance, has been the result of a sincere externalization of sensations, feelings and ideas generated out of my own subjectivity. [...] What weighs in my visual realizations is what I foresee and feel, my experiences in the public scenery and in the body, my desires, and my passions.

Each of my works questions the substantiality of our symbolic identity, seeking to extract new perspectives that remained hidden in its cracks. I’m interested in undermining the illusion of reality and language where they draw limits, barriers, boundaries to the human, imposing ultimate truths.

Before starting to paint, I make an infinite number of sketches and preliminary projects, so that I can choose what I want to keep. […] There are times when I also modify my final sketches, one could say it's like a kind of ‘gestural geometry’, where improvisation and spontaneity are still alive. There is no doubt that concrete geometry is rational, for me its essence is to combine and compose with geometric forms that I like; such as the square, the rectangle, the triangle, the circle, the semicircle. [...] Thus, as I adjust the composition, I do the same with the colours, I play with their intensity and look for contrast. (José Rosabal, hypermediamagazine.com)

“The landscape in my work is intended to reflect, in random ways, on the interpretation of my surroundings; marked by the various issues of housing and the need for retreat and shelter, and also the increasingly growing realities around the world caused by the urgent search for a decent habitat...”