Painting is the place where everything happens, and it is also the place where the performer's body interacts with the body of space.

(...) Thus, the body (of the painter), deformed into hyperplasia and elongated appendages, will fragment, and its fragments will undergo extreme transformations, developing new organs; it will metamorphose into animals or parts of them, change sex, to reintegrate and emerge as a new imagined body, fabricated from embodied, pulsating linguistic signs, with which to rehearse some kind of reconciliation.
It is a self, that of the painter, that appears in his painting, indistinguishable from the idea of ​​the Other. Whether considered as a mirror image (in the various representations of himself), or as an alter-ego emerging from the fragmented and multiple self, recomposed in a character (which Ignacio calls The Fat Tongue) with very defined characteristics (a deformed Negroid face, with long appendages on the skull, wearing bulky boots and wearing only a kind of diaper in which he seems to accumulate objects), which, while giving him identity, take it away from him, given the difficult reconciliation caused by the disparity of the signs. In addition to himself and this character (the painter's monster other), there is also a group of paintings focused on the (almost impossible) capture of a real, affective, sentimental other: the woman of his intermittent, yet constant, affections (to which he always returns).

Text by Txomin Badiola