The every base of my painting practice leans on trial and error. I usually try to keep preconceived ideas away when I start painting. By doing this, all the actions and processes that I follow are free from conceptualization, intentionality or purpose and for that reason I consider them pure abstractions.
In that sense, all my paintings are attempts, trials or tests, at least until that definetive moment in which a certain order, harmony or balance decends upon them. It is at that precise moment when they suddenly become no longer a test, but an achieved piece of art.