THE SEA CHANGED ABRUPTLY
I started doing the gouache paintings at the very beginning of the isolation period: the girlfriend, the dog, the unmade bed, the view from the window, the new layer of white paint on the kitchen wall, the pile of dishes waiting to be done…
In parallel to the painting I started the building of an archive. Images made on the cell phone, images published by unknown people on social media, images published on news sites and historical images all came together with family photos.
Throughout the days I noticed myself as an insular fellow, with a rectangular view to the world.
I started to correlate these images, build narrative webs, establish an attraction field. As I produced new paintings they added themselves to the older ones, thickening their meaning. The parked motorbike led to the crash that led to the destroyed foot on the hospital gurney. In itself, the image of the foot, destroyed by a traffic accident, led both to the story of the painting and to the precariousness of work relations in the country.
The small and delicate paintings started to bring within them the tenderness of the family album, whilst placing me in direct conflict with my mementos of the end of the world.