A CARTOGRAPHY OF THE LIMIT: TERRITORIES, MEMBRANES, AND HEARTBEATS

My work is not born from a closed image, but from a persistent investigation into the limit: between matter and energy, between the body and the territory, between the visible and that which remains hidden, between disappearance and resistance.
From this tension, three projects are organized, which today form part of the same conceptual line of work: Territories of the Last Song, Membranes / The Untamed Frontier, and Stellar Heartbeat. I do not think of them as separate works, but as stations of the same pictorial journey. Each one approaches, from a different materiality, a common question: what shape does that which insists on remaining take when everything seems to extinguish?
Territories of the Last Song
In Territories of the Last Song, painting appears as an extreme landscape. Not as a literal representation of a place, but as an emotional, ancestral, and spiritual territory. The “last song” is not merely a farewell: it is a signal, a final vibration that still resists before going dark. It can be the song of a wounded culture, of a threatened species, of a collective memory, of a human sensitivity devastated by the speed of the contemporary world.
There, I work with large surfaces, glazes, atmospheric layers, fracture zones, and chromatic fields that seem to exist between water, ice, sky, and ash. The painting is organized as a territory in transformation: something that collapses, but still sings. In this series, the support functions as an extension of the body and the landscape. The work does not illustrate a loss: it embodies it. The pictorial matter becomes a remnant, a trace, sediment, a vibration.
Membranes / The Untamed Frontier
If territory appears in Territories of the Last Song, the threshold appears in Membranes / The Untamed Frontier. The membrane is a living border. It does not separate rigidly: it lets through, filters, resists, breathes. It is skin, veil, surface, wound, and passage.
I am interested in working with the idea of the border not as a fixed political line, but as a sensory experience. Every border is also a question: what remains inside, what remains outside, who can cross, who is held back on the other side? In The Untamed Frontier, painting expands into a more spatial and immersive dimension. Looking at it head-on is no longer enough: the work needs to be traversed, surrounded, inhabited.
The membranes function as suspended bodies, as remnants of a primitive architecture, as signals of a territory that refuses to be domesticated. Light, transparency, canvas, the tension of the support, and scale construct a space of passage. The viewer does not merely observe a work: they confront a limit. And that limit is not uniquely external. It is also internal. The untamed frontier is the point where identity disarms and rebuilds itself.
Stellar Heartbeat
In Stellar Heartbeat, the investigation concentrates on the internal energy of the work. Painting no longer just constructs territory or frontier: it begins to beat. Light appears as living matter, not as a decorative resource. Its function is not to embellish the painting, but to reveal a hidden pulsation. The work breathes in cycles: it ignites, reaches intensity, slowly descends until it disappears, and is then born again.
This movement is not merely technical. It is existential. There is a vital insistence in that light that fades and returns. A minimal but persistent resistance. A body that refuses to fully disappear. Stellar Heartbeat takes to the extreme a question already present in the previous series: what remains of matter when it comes into contact with the invisible, what remains of the body when it becomes energy, what remains of painting when it ceases to be a surface and becomes a presence?
The work must sustain itself in two states: off and on. Without light, it must exist as an autonomous painting, with material, chromatic, and compositional strength. With light, it must reveal another dimension: a deep, stellar, almost ritual zone.
A Single Investigation
These three projects form a single cartography. Territories of the Last Song works with landscape as memory and disappearance. Membranes / The Untamed Frontier works with the threshold as passage and tension. Stellar Heartbeat works with light as vital energy and persistence.
Territory, frontier, and heartbeat: three ways of thinking about the same pulse, the need to leave a mark on the world before disappearing.
My painting is born from that tension between the primitive and the contemporary. Between the cave and the device. Between the ancestral gesture and lighting technology. Between dark matter and the ignited signal. I do not seek to represent the wild. I seek to allow the wild to act within the work.
The wild not as exoticism, but as a force prior to domestication. As sensitive energy, as spiritual resistance, as a zone not yet colonized by language. In this sense, my pictorial research shifts more and more toward an expanded work: painting, installation, light, body, space, and time. Painting ceases to be a frozen image to become an experience.
A work can be territory, membrane, and heartbeat. It can open a threshold, sustain a question, and leave a form of resistance ignited.
That is where my work stands today: in the attempt to build a painting that is not only looked at, but traversed; that does not only represent a loss, but makes it vibrate; that does not only speak of disappearance, but confronts it with matter, light, and pulse.
Painting, for me, is just that: building a signal against going dark. An untamed signal.