In my art practice, the mainstream image of painting is challenged. I use the label ‘painting’ to call what in fact are experimentations with materials and techniques that often derive from other disciplines, namely, photography, installation, printmaking, textiles, video, etc. This is not to dilute the concept of ‘painting’. On the contrary, these operations are meant to give relevance to what of painting matters to me the most. More than the sensuousness of its traditional materials and techniques, what exactly hooks me on painting has to do with the possibility of encountering an artwork ‘all at once’. To embrace the whole of its presence and composition in a moment, a moment which might stretch from few seconds to several minutes, but which does not articulate in steps and does not lead to conclusions. Hence, painting for me is not a thing that is crafted in some specific way, but a spectacle that is riveting even if it does not unfold. To me ‘painting’ means a visual event where stillness and intensity coincide.