His printmaking oeuvre can be viewed as a diary of sorts, of everyday signs, visual impressions or, in turn, human traces that he observes with sensibility and tries to record or document in some way. The best way he achieves this is by using the traditional printmaking techniques (intaglio printing: etching, aquatint, vernis mou; planographic printing: lithography, and letterpress printing: linocut and woodcut). We can say that the matrix is extremely important to the artist, it is an object that remembers, that contains something important and valuable, a “reliquary” of sorts. He also collects ethnographic objects, which for him have a spiritual value in addition to having an aesthetic value. These objects often become matrices (for example, billhook, harpoon, demijohns…). On his relationship with the matrix, he says: “the approach is sculptural, each of them is a distinct and special object that can also be used as a matrix. By mixing these matrices, I attain an unlimited number of possibilities to create an image, a visual document”.
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