Abstract Surrealism. I’m interested in paradoxically assumed abstraction from the classical techniques of representation. I start from the gestures of automatism, from stains or accidents and – with them – I build on the lines and the tones or values of a reduced palette of colours. I seek to create a surreal image or atmosphere in which the amorphous figures, and their relationship with the background, give meaning to the spatiality and theatricality of the scene. The insinuated and suggested takes shape in dissimilar textures and volumes evoking man's own internal and external nature.

At first glance, one might think that the colour is applied in quick, frenetic strokes, but it is quite the opposite. Antoine works on canvas, rationalising each brushstroke, taking distance and continuing the process. His creations are true to his nature: energetic, but at the same time balanced. […] In the present, Basquiat and bad painting emerge in the somewhat swirling form of the brushstroke, in the way in which figuration is almost non-existent, where a taste for abstract figuration and the use of diverse frames that make his compositions very noteworthy by proposing other perspectives of the central motifs is also evident.

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.

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).

In “Antelope Canyon”, there are endless possibilities for artistic compositions. That image is a study of how light sculpts spaces of texture and color into three dimensional layers captured in a two dimensional medium. With his photographs, he wants you to feel what he sees. His passion is to tell visual stories, one frame at a time. More painter than documentarian, the work hopes to showcase an impressionist approach...a type of optical painting. His grouping of images by their common connection to our earth - water, desert, trees and geology, not simply by location - is an expression of his sincere understanding and respect for our world. His artful capture of moments of light reveals an insight into our environment that only the perceptive observer can share (Mark Berndt, photographer, Santa Fe, New Mexico, United States, 2024).

"In these works, where converge images with distinctive clown characteristics and representational objects such as balls or others, I seek to present a sociopolitical critique, using symbolic elements and encrypted codes to stimulate the viewer's reflection."

…En mi pintura el pasado influye y allí encuentra su acomodo: Las costuras de mi madre, las amarras del pescador la corrosión del salitre, las cercas, el bahareque, lo místico religioso, lo mágico caribeño, la simbología indigenista. […] Busco en mis trabajos una reinterpretación de nuestro pasado, intentando que la obra y el objeto convivan en un lenguaje común, que el espectador sienta visual y táctilmente, sensaciones ya vividas…

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…

His works emerge in this series as atmospheres of light and colour in which visual effects that expand the space before the viewer's gaze are achieved. Any plane is almost indistinguishable in compositions in which textures appear as if to give a material quality to the light of a primordial outburst, in which opposing forces that coexist in the artist’s subconscious can be assumed (C. Escala Fernández).

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.