**Constructed Painting XVIII** explores the moment where the human figure dissolves into movement. Developed from layered drawings of the body in motion, the work transforms a fleeting gesture into a spatial structure composed of stainless steel planes.

Rather than modeling volume through mass, the sculpture builds form through the accumulation and displacement of contours. The overlapping layers create shifting relationships between presence and absence, allowing the figure to emerge and disappear as the viewer moves around the piece.

Part of the _Constructed Painting_ series, this work continues my investigation into translating the language of painting into three-dimensional space. Stainless steel reflects and absorbs its surroundings, making light an active component of the composition and extending the work beyond its physical boundaries.

The piece embodies a suspended moment of introspection, where gesture, structure, and movement converge into a dynamic spatial drawing.

PCXVIII.PinturaConstruida

This work marks the beginning of the _Constructed Painting – Textile_ series, where painting expands beyond the illusion of depth and becomes a physically constructed surface.

Built through layers of textile material integrated onto a rigid support, the composition unfolds as a sequence of horizontal strata that suggest geological formations, waterways, aerial landscapes, or accumulated memories of place. The work exists between abstraction and observation, inviting multiple readings without settling into a fixed image.

The layered structure creates a dynamic relationship between surface and depth. Fabric, pigment, line, and texture interact as equal elements, transforming the painting into a spatial construction where light reveals subtle shifts in relief and material presence.

A restrained palette of blacks, whites, and silvery grays emphasizes rhythm, movement, and continuity. Linear gestures travel across the composition like currents, connecting the different layers into a unified visual field that appears both expansive and intimate.

As the opening work of the series, this piece establishes the central premise of _Constructed Painting_: the transformation of painting from a flat image into a physical environment where material, structure, and perception become inseparable.

ABSTRACTO38.PinturaConstruida

This work explores movement as a continuous and organic force. Through layered textile construction, elongated forms emerge and dissolve across the surface, evoking currents of water, vegetation, or unseen natural energies in constant transformation.

The composition is built through the physical manipulation of fabric on a rigid support, allowing material, structure, and image to become inseparable. Rather than describing a specific landscape, the work creates an atmospheric space where depth is generated by overlapping planes, subtle relief, and the interaction of light with the constructed surface.

A restrained palette of deep blues, greens, and muted earth tones reinforces a sense of fluidity and contemplation. Vertical rhythms guide the eye through the composition, creating the impression of growth, movement, and expansion beyond the physical limits of the panel.

As part of the _Constructed Painting_ series, this work extends the artist’s investigation into how painting can occupy real space. The surface is no longer treated as a flat image but as a constructed environment where material presence, gesture, and movement converge.

ABSTRACTO47.PinturaConstruida

This diptych explores the transformation of the human figure into a language of movement, color, and spatial rhythm. Emerging from the artist’s long-standing observation of the body in motion, the composition dissolves recognizable anatomy into flowing structures that oscillate between presence and abstraction.

Built through the physical manipulation of textile surfaces on rigid supports, the work retains traces of construction while emphasizing gesture and continuity across two independent panels. The division of the composition creates a visual pause, allowing movement to unfold from one surface to the other while maintaining a unified spatial field.

The interplay of yellow, blue, red, and muted earth tones reinforces the sensation of energy passing through the form. Color no longer describes the body but becomes a force that directs perception, generating pathways of movement and visual tension.

As part of the _Constructed Painting_ series, this work reflects the transition from representation toward structure, where painting becomes a constructed presence and the figure evolves into an architecture of motion.

BÍPTICO7.PinturaConstruida

This work explores the transition from painted surface to constructed form. Composed of folded, layered, and assembled textile elements on a rigid support, the piece transforms painting into a physical structure where material, space, and gesture become inseparable.

The fragmented planes create a dynamic architecture of folds and intersections, generating a sense of movement that shifts between geological formations, drapery, and the human body. Color is used sparingly, emerging through muted yellows, blues, and earthy tones that accentuate depth and rhythm within the composition.

Rather than representing a specific image, the work records a process of construction in which painting is built rather than applied. The surface becomes a terrain of accumulation, tension, and transformation, inviting the viewer to experience painting as an object occupying real space.

As part of the _Constructed Painting_ series, this piece reflects an ongoing investigation into the expansion of painting beyond the two-dimensional plane and into the realm of structure, relief, and spatial presence.

ABSTRACTO46.PinturaConstruida

This work represents a moment of reduction and refinement within the _Constructed Painting_ series. Built from layered textile elements fixed onto a rigid support, the piece abandons color and figuration in favor of structure, material presence, and light.

Subtle folds, tensions, and reliefs emerge from the surface, transforming fabric into a spatial language that oscillates between painting, sculpture, and architecture. Rather than depicting an image, the work allows the material itself to become the subject, revealing traces of movement, memory, and construction.

The monochromatic palette emphasizes the interaction of light and shadow across the surface, inviting a slower perception of depth and form. As the concluding work in this group, it reflects the series’ ongoing exploration of how painting can move beyond representation and exist as a physical, inhabitable presence in space.

ABSTRACTO45.PinturaConstruida

Constructed Painting is an ongoing body of work that originates from the observation of movement in the human figure. The series began as a search for a way to extend painting beyond the flat surface and into real space, transforming drawn contours into layered stainless-steel structures.

Each sculpture is developed from multiple drawings of the body in motion. These drawings are fragmented, repeated, and reorganized into a sequence of planes that construct volume through space rather than mass. The resulting forms exist between drawing, painting, and sculpture, allowing the figure to appear and dissolve as the viewer changes position.

Light plays a fundamental role in the work. The reflective surfaces of stainless steel interact with their surroundings, creating shifting visual relationships that continuously alter the perception of the piece. What appears solid from one angle may become transparent from another, emphasizing movement, transformation, and the instability of form.

Through Constructed Painting, I investigate how gesture can be translated into structure and how the language of painting can evolve into a spatial experience. The work invites viewers to move around it, discovering changing configurations of line, volume, light, and emptiness.

PCXVII.PinturaConstruida

**PC-XIX** represents a culmination of my ongoing investigation into the relationship between painting, drawing, and sculpture. Originating from studies of the human figure in motion, the work transforms layered contours into a three-dimensional structure where volume is constructed through space, light, and absence rather than solid mass.

The elongated upward gesture suggests both balance and expansion, capturing a moment suspended between movement and stillness. Multiple stainless-steel planes overlap and separate, allowing the figure to emerge gradually as viewers move around the sculpture. Rather than presenting a fixed image, the work continuously changes through shifting perspectives, reflections, and spatial relationships.

As part of the _Constructed Painting_ series, **PC-XIX** extends the language of painting beyond the picture plane. The contours that once defined form on a surface become independent structural elements, creating a dynamic dialogue between line, volume, transparency, and light.

The reflective qualities of stainless steel incorporate the surrounding environment into the work, making perception itself an active component of the experience. The sculpture exists not as a static object, but as a constantly changing configuration of movement, space, and light.

PCXIX.PinturaConstruida

_PC-X explores the transformation of the human figure through layered stainless-steel planes that dissolve the boundary between drawing, painting, and sculpture. Constructed from successive contours, the work reconstructs the body as a spatial event rather than a fixed form._

_The seated figure rises from a broad foundation, creating a dynamic tension between stability and ascent. Open spaces within the structure allow light, shadow, and reflection to become active elements of the composition, continually altering the viewer’s perception as they move around the work._

_Part of the Constructed Painting series, PC-X extends an ongoing investigation into the translation of pictorial language into physical space. The layered structure preserves traces of the original drawn figure while transforming it into an architectural form defined by movement, transparency, and depth._

PCX.PinturaConstruida

_PC-I is the first sculpture created within the Constructed Painting series and marks the transition from drawing and painting into three-dimensional form. Developed from the observation of the human figure, the work translates a single image into a sequence of layered stainless-steel planes, allowing volume, movement, and light to emerge through space rather than through pictorial illusion._

_The figure appears fragmented and reconstructed, revealing the process by which the body is built from successive visual strata. As viewers move around the sculpture, shifting reflections and overlapping contours generate multiple readings of the form, transforming perception into an active experience._

_Unlike later works in the series, which are mounted on concrete bases, PC-I rests on a steel base, emphasizing its role as the origin point of the investigation. The piece establishes the formal and conceptual principles that would define the Constructed Painting series: the translation of painting into space and the exploration of movement through layered structure._

PC-I.PinturaConstruida

Part of the series _Maps_, this work originates from direct observation of the human body through life drawing. The series explores the body as a territory to be visually navigated, where color functions as a guide directing the viewer’s gaze across forms, rhythms, and anatomical structures.

Originally developed through the construction of colored paper layers applied over drawing, the process evolved into compositions executed in ink on silk. In this work, fragments of the figure dissolve into fields of color and fluid lines, creating a dynamic relationship between abstraction and representation. Rather than describing the body, the image proposes a visual journey through it, transforming anatomy into a landscape of movement and perception.

M3.MAPAS

Part of the series _Maps_, this work continues an investigation into the human figure as a visual territory shaped through color, movement, and fragmentation. Derived from life drawing sessions, the composition transforms anatomical observation into a network of interconnected forms that guide the viewer’s gaze across the surface.

The work originates from a process that evolved from constructing images with colored paper layered over drawings to the use of ink on silk. Here, the body is simultaneously revealed and dissolved through color fields and gestural contours, creating a tension between representation and abstraction. The figure becomes less a depiction of a specific body and more a map of visual pathways, rhythms, and relationships.

M6.MAPAS

Part of the series _Maps_, this work embodies the central premise of the project: the human body understood as a landscape to be explored through color. Originating from direct observation in life drawing sessions, the composition transforms the figure into a network of visual relationships where color directs the movement of the eye across the surface.

Executed in ink on silk, the work balances representation and abstraction. The seated figure remains recognizable, yet its form is articulated through zones of color that function as visual coordinates rather than descriptive elements. Through this interplay of structure, movement, and perception, the image invites the viewer to navigate the body as a map, revealing shifting pathways of attention and spatial awareness.

M9.MAPAS

Part of the series _Maps_, this work investigates the relationship between bodily presence and visual structure. Derived from direct observation through life drawing, the composition focuses on a fragment of the figure, shifting attention from anatomical description to the organization of color, rhythm, and spatial relationships.

Executed in ink on silk, the work emphasizes the way perception moves across the image. Fields of color intersect with line and form, creating a network of visual pathways that guide the viewer through the composition. By concentrating on a partial view of the body, the work marks a transition from representation toward a more constructed visual language, where the image is experienced as a sequence of interconnected zones rather than a single unified figure.

M10.MAPAS

Part of the series _Maps_, this work brings together the central concerns explored throughout the series: perception, fragmentation, and the human body as a territory of visual navigation. Derived from direct observation through life drawing, the image is structured through fields of color that guide the viewer’s gaze across the surface.

Executed in ink on silk, the composition moves beyond descriptive portraiture. The face is transformed into an arrangement of interconnected zones where color, line, and form operate as visual coordinates rather than anatomical details. As one of the concluding works of the series, it reflects the progressive shift from representation toward construction, anticipating the spatial and structural concerns that would later develop into the artist’s _Constructed Painting_ works.

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