This new series of works on concrete was it born as the result of an important investigation of my work, the research of that “quid” that i felt was missing. Looking at my work in the past ten years I understood that there was the semantics and semiotics in my visual speech, but the right support to valorize the message was not there.

Reinforced cement, concrete, was created two thousand years ago by the Romans. It has a millinery story, made amphitheaters, bridges and roads that have conquered both the ancient and modern worlds. Concrete is a synonym of modernity. Everywhere you go to find a concrete wall, the modern humanity is there. From Sidney to Vancouver, from Oslo to Pretoria, reinforced cement is present and consequently it is the support and foundation where artists and writers express themselves.

The successive passage was obvious for me. If humanity brought art on the streets in order to make it accessible to everyone, why not bring the urban in galleries and museums? It was the winning step to the continuous evolutionary process of my work in that “quid.”

When the painting has completely dried, I brush it with a particular that not only manages to unite every color and shade, but also gives to the work a shininess and lucidity like the posters that we all had hanging on our walls. My memory, my DNA, remain concreted inside, transforming the person looking at the artwork into a type of post-modern archaeologist studying my work as if they are urban artifacts.