The recent series of mylar drawings resemble quicksands, more so than drawings. Each drawing is composed of two juxtaposed mylar sheets drawn on each side, which converge together creating a multilayered landscape. The surface simultaneously deceives and reveals itself when the capricious gaze decides to caress its uneven surface as it attempts to swallow the spectator. Abstraction, figuration, desire and pornography camouflage themselves in a metaphorical panorama that is triggered solely through the gaze.
In the landscape painting tradition there has always been a distance between what is looked upon and what is portrayed. In this case, the landscape becomes internal, chaotic, portraying imaginary scenes around Banana Republics. The banana with its long, tragic and phallic history has been the pretext to explore memory, desire and the decorative distance between reality and fantasy.