want to express without ruling out any technique , but it always has to be something optical . I try by all means that my current photograph has the least digital manipulation , all processed are standard . My projects have their space and time , marked by my space and my time , as they are part of who I am , how I think and the accumulation of experiences and events throughout the years and which are a very important part of my .
For this special edition of LandEscape we have selected El jardín de Entelequia , an interesting research project that our readers have already started to admire in the introductory pages of this article . What has at once captured our attention of your captivating investigation about the relationship between your painting and the actual places you painted is the way you provided the visual results of your analysis with autonomous aesthetics : while walking our readers through the genesis of FLOW , would you shed light to your main sources of inspiration ?
Pablo Picasso said " Inspiration exists , but it has to find you working .", And I can ’ t agree more . Many times they are subtle things , some are ideas or circumstances , others arise from photos that I am at that moment realizing . An example could be the series " Ensueños de Teseracto ". The inspiration came from social events in the streets of many cities in my country the information obtained through the media did not correspond in many cases with reality . We are in a society of immediacy and information that offers us