It’s a sweet obsession that lives within me,
a fragile balance between pleasure and necessity.
It doesn’t consume me – it ignites me.
The sweetest curse, the truest freedom,
fowing through my veins like the sea in dreams:
calm, deep, indispensable.
Because without my passion,
I wouldn’t know where to rest my heart.
It’s a sweet obsession that lives within me, a fragile balance between pleasure and necessity.
It doesn’t consume me – it ignites me.
The sweetest curse, the truest freedom, fowing through my veins like the sea in dreams: calm, deep, indispensable.
Because without my passion, I wouldn’t know where to rest my heart.
Through pop and ironic imagery (cartoons, logos, rhinestones), the works speak of ambition, the desire for visibility, and the need for affirmation. “Cash is never trash” does not glorify money, but observes it and transforms it into art, claiming the right to desire more without shame. In a society that pretends modesty while idolizing gold, these works become an act of honesty: they acknowledge that even dreams come at a cost.
Through pop and ironic imagery (cartoons, logos, rhinestones), the works speak of ambition, the desire for visibility, and the need for affirmation. “Cash is never trash” does not glorify money, but observes it and transforms it into art, claiming the right to desire more without shame. In a society that pretends modesty while idolizing gold, these works become an act of honesty: they acknowledge that even dreams come at a cost.
The series of paintings portrays cartoon icons from the childhood of the Boomer generation, using cardboard as the support—a fragile and non-precious material. This choice creates a deliberately ironic contrast with the classic wooden frame and invites reflection on the concept of value, nostalgia, and pop culture. The works question what is considered worthy of preservation, highlighting the fragility of memory and the ephemeral, commercial nature of childhood memories. Overall, the series offers a subtle critique of the commodification of nostalgia and of the way society assigns greater value to appearance than to authentic meaning.
The mirror separates and unites reality and imagination, artwork and viewer. Cartoon characters and superheroes become metaphors for contemporary obsessions with wealth, power, and image, directly engaging the observer. Luxury and richness are presented as glittering illusions that conceal a deeper emptiness. Through a pop and ironic style, the mirror reveals the duality between appearance and identity, strength and fragility, inviting the viewer to question their own desires, the meaning of power, and their inner dimension.
The mirror separates and unites reality and imagination, artwork and viewer. Cartoon characters and superheroes become metaphors for contemporary obsessions with wealth, power, and image, directly engaging the observer. Luxury and richness are presented as glittering illusions that conceal a deeper emptiness. Through a pop and ironic style, the mirror reveals the duality between appearance and identity, strength and fragility, inviting the viewer to question their own desires, the meaning of power, and their inner dimension.
A society in which appearance and packaging matter more than content. This series of paintings depicts cartoon characters—once symbols of innocence—transformed into branded products and consumer icons. Through bright colors and pop imagery, the works denounce the replacement of substance with aesthetics and question what we are truly “buying.” Behind the sparkling wrapping remains a void, but also the possibility that an authentic and human core may still survive.
The wordplay between “Princess” and “Pringles” criticizes the way contemporary women are idealized while simultaneously consumed and discarded. Betty Boop becomes the symbol of this contradiction: an icon of freedom and sensuality, yet reduced to a desirable image. The “Princesses” series reflects in a pop key on female objectification and the obsessive pursuit of beauty and attention, showing how society consumes its “princesses” quickly and superficially.
The wordplay between “Princess” and “Pringles” criticizes the way contemporary women are idealized while simultaneously consumed and discarded. Betty Boop becomes the symbol of this contradiction: an icon of freedom and sensuality, yet reduced to a desirable image. The “Princesses” series reflects in a pop key on female objectification and the obsessive pursuit of beauty and attention, showing how society consumes its “princesses” quickly and superficially.
A series of paintings that do not portray faces, but the energy and passion of people through movement. Sports and hobbies become essential rituals—moments in which effort, concentration, and gesture transform into freedom and spirituality. The works capture the instant when body and soul coincide, celebrating passions as healthy and necessary obsessions capable of giving balance, meaning, and life to those who practice them.
In an urban world suspended between light and darkness, modern and rebellious angels protect lost souls. Figures halfway between the sacred and the street, they wear symbols of luxury reinterpreted as signs of survival, identity, and redemption. Warriors and poets of modern times, they walk between sky and asphalt, guarding a fragile balance between good and evil. Each work tells a fragment of their mission: they do not promise miracles, but defend the soul, dignity, and the light that is born from darkness.
In an urban world suspended between light and darkness, modern and rebellious angels protect lost souls. Figures halfway between the sacred and the street, they wear symbols of luxury reinterpreted as signs of survival, identity, and redemption. Warriors and poets of modern times, they walk between sky and asphalt, guarding a fragile balance between good and evil. Each work tells a fragment of their mission: they do not promise miracles, but defend the soul, dignity, and the light that is born from darkness.