When I paint, I strive to reaffirm my perception of reality, my relationships, and, most importantly, the affection I have for the people in my life. To restrict my own subjectivity, I feel compelled to present my models aesthetically as objectively as possible, focusing mostly on color, form, and composition harmony.

In some ways, I identify with the New Objectivity painters, whose goal was to show things objectively rather than realistically. Like them, I regard reality as a delicate and easily warped entity. That is, I believe, why I want to present in a very elaborate and formal manner in order to reach objectivity.

The concept of objective representation is, of course, a chimera. However, the outcome of this futile attempt is part of the game. Surprisingly, I discover my own pure view of the world while attempting to avoid formal manipulations and abstract experiments, which are inevitably the manifestation of a highly personal and subjective viewpoint.

It's an examination of something I can't actually control, and that's where its authenticity rests. As a result, I think my painting to be true and authentic, despite the fact that it ultimately does not transcend subjectivity. To characterize my work, I like to use the phrase "objective intimacy."