Paper Sheet. Burgundy Tree 3. Tree Skins Collection

Paper Sheet. Bordeaux Tree 3. Acrylic technique on paper.

Measurements 42 cm high x 29,5 cm wide. Tree Skin Collection.

Painting the picture I thought that something inside me is at rest. That is why the brushstroke is continuous, without changes and contrasts, I still want to continue experimenting on the canvas with the colours and textures to see where I am walking towards in the Tree Skin.

The skin is the surface, but inside there is so much... things are retained under our skin and come out or not, like the skin of a tree and its aesthetic character. There are as many types of skin as there are life experiences, and perhaps tree skin allows me to let out what sometimes I can't see or imagine.

The technique I use in this series is acrylic paint on canvas or paper and, depending on the work, I can introduce textures such as paper, normally white mixed with gesso. To this mixture I then add thick brushstrokes and form cracks, channels and other textures. I also like to use craquelure to break certain parts of the painting, causing a natural effect and something like the imprint of the passage of time on the surfaces.

The tones are pastels, between the neutral smells of clay and lavender. Painting several pictures of this series in these months, I thought that something inside me is in slow movement towards a place called calm. That is why the brushstroke is continuous, without changes and contrasts.

I want to continue experimenting with the technique on the canvases and papers of this series, Tree Skin, with the colours and their textures to advance between the Tree Skin.

The skin is the surface, but inside there is so much... things are retained under our skin and come out or not, like the skin of a tree and its aesthetic character. There are as many types of skin as there are life experiences, and perhaps tree skin allows me to let out what sometimes I can't see or imagine.

The technique I use in this series is acrylic paint on canvas or paper and, depending on the work, I can introduce textures such as white paper mixed with gesso. To this mixture I then add thick brushstrokes and form cracks, channels and other textures. I also like to use craquelure to break certain parts of the painting causing a natural effect and the passage of time.