Heilstätte Grabowsee was a sanatorium in Brandenburg, where patients suffering from tuberculosis were attended. It was later used as a soviet military hospital. The five paintings of the series were painted directly at the place.  The abandoned buildings are being taken over by the nature surrounding it, which makes it difficult to differentiate the outside and the inner room. The paintings speak about mysterious natural forces, about our fragility and the fragility of its material (glass). Some parts of it are painted with a very transparent layer, which allows us to see through.

The series “52.526207, 13.396236”, was painted in the surroundings of the hospital where I spent the last winter. I painted some trees playing with the transparency of the glass, letting spaces wide and with very fine glazes.  

In the Series “Fossils”, I have painted the fossils of the bird Aeropienthecux that were found on lithographic stones, on the foil of computer displays. I took off the glass of the computer screens and painted onto the mirror foil with watercolour. The paintings are only visible from one point of view, it looks otherwise mirrored. They were exhibited during the quarantine time, hanging on several trees in a parc in Berlin. Most of the work has dissapear now.

In the series of works “Not found”, I painted from different perspectives on an abandoned factory that was used for a film set. The paintings were created in one session, during a very intense process. I used glass as an observation instrument: I paint what I see through it. This creates non-common distortions like the curvilineal perspctive that only happen when the human eye is at the center of our perception.   This represents  a humanitistic gesture in a one more automatizated world.

“Icarus” reinterprets the classical myth in the city of Berlin by combining different perspectives, like the high-angle shot and from the subjective gaze of a woman falling while flying. “Never close your eyes”, shows us a construction of a bridge on the coast of Biarritz by using film ressources like close-up or divided screens. “Dream”, whose composition is based on the painting “Las Meninas”,  uses various overlapping screens to mix oniric states embodied by the acrobat with real elements such as the building behind the contemporary museum in Berlin, the Hamburger Bahnhof. The reflection  of the mirror in Velázquez painting spreads over the whole surface of the painting, including the spectator. «Kung-fu» shows  a training of this martial art by women on a field in Brandenburg from different perspectives. In the second image, the satellite images of Mexico City are mixed with the perspective of a train crossing the image, appearing in the background and returning to the foreground.

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