Victor must save the planimetry of the wall and the evasive maneuver in his canvases and cardboards; to intersect planes, spaces, accumulated stories, verses carved in stone as a result of that perennial dialogue between man and the forces of nature; to rise above any comfortable mimicry on his journey towards the abode of the spirit and deliver a living, malleable work, a way of interpreting any reality, not of reproducing a formal discovery or a way of life... (C. Escala Fernández).

A través de la composición, sus elementos y cromatismo particular interpreto una percepción del mundo circundante. Aunque a estos agrego componentes diversos menos convencionales con los cuales añado pigmentos y texturas a las piezas que se sobreponen a la suavidad del pincel y marcan mi estilo personal de tupida paleta.

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.

"In my canvases, a drop, different textures, the stain that configures and represents, the smell of the paint that invites the palette knife, the different traces I leave on the painting blend and interact with each other, starting from the fact that each one is the protagonist of a particular story to be told...

I’m a young artist. My work, and mainly its content, is to paint expression, pain, fear, despair, depression... I want to create an impression and emotion in people. How to understand the psychological state. I put myself in every work and what kind of mental state I am in. Every day I did something to get closer to my dream of being an artist and creating, but it's not really a dream, it's my lifestyle. [...] Because for me, creating work is not about making and selling; it's something more. I want to leave a message for people to know that art, more than creating and selling, has the value of evoking some emotion in them, be it good or bad. The only thing that fulfils me is to actively create. I implemented the artistic vision to give purpose and meaning to art.

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.

You hardly know who I am; I write, I paint since I was a child, today I do it in the silence of the mountain, surrounded by animals. I know, they drink words of love; I dispense the nectar. That a man cries or is sensitive provokes rejection, it is annoying. I am one of them; damned adrenaline. In us, gentleness is mannered and corny, almost despicable; to be strong is a bastion of the chosen, a vital skill to which few of us have access to. In love with sport and vegan, I have published several books, and I am a crazy painter, self-taught who loves the forest, and the colour aquamarine blue.

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)

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.