"The artist is a creator of beauty, revealing art and hiding the artist is the goal of art, it is the critic who can translate his impression of beauty in a different way or with new materials, the highest form of criticism, and also the most creepy, it is a modality of autobiography, those who discover meanings in beautiful things are corrupted without being elegant, which is a defect.Who find beautiful meanings in beautiful things are cultivated spirits.For them there is hope.They are the elect, and in his case, beautiful things only mean beauty, there are no moral or immoral books, books are well or badly written, that's all, the aversion of the century to realism is Caliban's rage at seeing his face in the mirror. The aversion of the century to romanticism is Caliban's rage at not seeing his face in a mirror.The moral life of man is part of the artist's themes, but the morality of art consists in making a perfect use of an imperfect medium. No artist wants to prove anything. Even things that are not true can be proven. The artist has no moral preferences. A moral preference in an artist is an unforgivable affectation of style. No artist is morbid. The artist is able to express everything. Thought and language are, for the artist, the instruments of his art. Vice and virtue are the artist's materials. From the point of view of form, the model of all the arts is the art of the musician. From the point of view of feeling, the model is the talent of the actor. All art is at once surface and symbol. Those who deepen, without being satisfied with the surface, are exposed to the consequences. Those who penetrate the symbol are exposed to the consequences. What art actually reflects is the viewer and not life. The diversity of opinions about a work of art shows that this work is new, complex and alive. When critics disagree, the artist agrees with himself. We can forgive a man for doing something useful as long as he does not admire it.

The only excuse to do something useless is to admire it infinitely.

All art is completely useless.

Preface to The Portrait of Dorian Gray. Oscar Wilde (Reduce)

Libertango, 2002

Oil on wood. 48 x 66.9 in

Libertango II (Piazzolla) 2002

Oil on wood. 15.7 x 13.9 in

Contrastes, 2002

Oil on wood. 7.4 x 14.3 in

El Cronista (Raúl Alonso), 2003

Oil on canvas 59 x 29.9 in

Kassia, 2002

Oil on wood. 27.5 x 11.8 in

Jesús Panadero, 2005

Oil on canvas. 47.2 x 28.7 in

Maria de los Angeles 2005

Oil on canvas. 47.2 x 23.6 in

Elena Abreu, 2007

Oil on canvas. 51 x 39.3 in

Divagación I, 2006

Oil on canvas. 57.3 x 38 in

Jesús Panadero Pastrana, 2015

 Oil on canvas. 31.8 x 25.5 in

Madame R, 2009

Oil on canvas. 35.4 x 24.4 in

Ale, 2012

Oil on wood. 8.6 x 11.8 in

Raúl (El Cronista), 2010

Oil on wood. 19.6 x 19.6 in

El Benja, 2008

Oil on canvas. 31.4 x 39.3 in

Antonia, 2012

Oil on canvas. 31.4 x 23.6 in

Il Bacio, 2005

Oil on canvas. 47.2 x 24.4 in

Condesa, 2008

Oil on wood. 29.5 x 19.6 in