Using various technical resources and differing graphic registers, the works strike up a relationship between the traces and forms of landscape and those of the act of drawing.

In the same way as the result of the drawing is a visible accumulation of endeavours, each drawing could also be viewed as yet another attempt to achieve an image in different material and technical conditions, to hone it precisely by foregoing it.

Through the sole interventionof placing the drawings on the wall, I freely accept that they organise themselves and establish their own bonds, in turn spatially altering the exhibition hall. The images appear between one and the other in the same way in which they arrived to the drawing, spasmodicallyand by detours.

The convergence between theme and technique is a discovery along the process of creation, in which one advances in keeping with what the drawing insinuates. The rarities in the resulting image are a form of overflow that reveals what the drawing has enabled to happen. There is a tension between the material (in proximity)and the image it irradiates or brings into being (in the distance).

Taken as a whole the drawings outline a precise place and allow the necessary space for those yet to come.

I prefer the periphery; whether on walks, in the way of working or of looking. I never tackle the big themes head on and refuse to put them at the centre of the story. Ifthey wish to make themselves felt, then they have to do so transversally. Thethemes are touched on like a butterfly that alights here and there, addressing a time of life with places which is also a time of life with the drawing. The drawing begins to mean something to me when something happens in it and ittakes a previously unconceivable becoming. For instance, I do not make a drawing of the night, rather the night is made in the drawing; sometimes quickly and sometimes slowly. And maybe the simple figure of a duck cut out against the light invites the night in the image.