MANIFESTO
« It even run the risk of seeing the material element crushed by the conceptual element. »
— Alois Riegl, Late Roman Art Industy (1901), speaking of modern art.
For decades,
art has spoken the language of universities.
The Academy has vanished.
Intellectualization has taken its place.
We glorify the concept,
we valorize discourse,
we guide the viewer by explaining what they should see, understand, and feel.
But a work of art is not a vehicle for ideas.
It is a presence.
A sensory experience, not a commentary.
Art is born from a sensory shock—
from an immediate encounter with matter—
like Picasso before the African masks,
where form ceases to be a motif and becomes an exorcism,
an event of consciousness.
What matters is not the “what” — the content —
but the “how”:
how matter opens a passage from the invisible to the visible.
My mediums are thresholds of perception:
Tempera teaches me patience.
Encaustic opens me to haptic exploration.
Pastel on abrasive ground celebrates spontaneity.
To paint
is to give body to what cannot be translated into words.
A work does not explain.
It makes one see.