M E REMEMBRANCE AS A YOUNG FULL OF DREAMS IN THE FANTASY WORLD WE LIVE THAT had gotten in my mind, EUROPEAN ARTISTS AND BE VICTORIOUS, decadence and Progress, techniques and studies, WHOLE COSMOS ARISING IN THE BOOKS THAT HAD ACCESS TO MY MODEST IN ECONOMY, BUT THE ISSUE OF AN ARTIST CREATIVE VITALITY AS MY FATHER, SOLDIER AS A BLACKSMITH AND MY GRANDFATHER, AND THE SUBLIME PRESENCE OF CRITICISM AND PROMOTE THE VOICE OF MY MOTHER.

SO SINCE 1965 AS THE PROCESS WITH THE DREAM OF BEING IN THE RED MILL, OR UNDER THE ARCH OF TRIUMPH IN PARIS, MAY CONTEMPLATED IN HOLLAND TULIPS Dodge CARS OR NEW YORK.

COME TO SPAIN IN 1972, THE CAFE ENJOY YOUR ENVIRONMENT JIJONA Bohemia and locked me in the Prado Museum in Madrid, Joaquin Sorolla MUSEUM, THE ART GALLERY OF ART that showed now I understand as decadent and Commercial.

DROWN ME WITH THE PICTURES OF GOYA AND SOROLLA LIGHTS, THE Dramatic GRECO, VELAZQUEZ AND COLOR, THE STRENGTH OF VERY SERIOUS AND LAKE ZURBARAN LIST ALL THOSE FEELINGS THAT FEELS A STUDENT WHO WANTS TO BE NOBEL PAINTER, explained my YOUNG WORK IN 1973, I felt ARTIST DYNAMIC, stronger.

EUROPE AFTER THE LOUVRE, the Victory of Samothrace, French Impressionism DEVOTED TO YOU HAD MANY YEARS IN MY STUDY, WERE THERE, REAL, COULD FEEL THESE ARTISTS APPLYING THE FILLINGS OF YOUR IMAGE DEVELOPING THEIR THEORIES OF LIGHT AND COLOR, MY HEART WAS THIS PLACIDO EMOTION AND I FELT THAT GREW, HE WOULD MY MIND TO A WORLD OF inexplicable feeling FELT AND HOW WE HAD LIVED DREAM, THAT I SAID TO MYSELF STOPPED AT THE ENTRANCE OF THE RED MILL.

THEN THE REST OF EUROPE, WHERE HOLLAND VANGOH FLOOR, AND MANY OTHER COUNTRIES THAT ADRENALINE NURTURING FOLLOWED AS FUEL FOR CREATIVE LIFE, THE MUSIC OF CHOPIN FELT LIKE THAT LAMENT OF FLAMENCO GUITAR MUSIC OR EDITH PIAF, was performing.

NEW YORK 1970, MET THE Guernica, Picasso MUCH WAS HELD IN MY RETINAS IN EUROPE, JACKSON POLLOCK the counter of another culture, TECHNOLOGY PRINTING, CAPTIVE IN SECOND INSTANCE FOR THIS TRACK IS NOT CLEAR NEVER IN MY LIFE SCHOOL that until now has a strong influence in my work.

EXPLORE THE ABORIGINAL ANCESTRY IN LATIN AMERICA ME BACK TO REALITY, LONG ISLAND CITY ROAD COUNTRIES, WHICH LATER Seguiri.

second stage. (the scarecrows)

C ME WHEN HE PRESENTED THE IDEA OF PAINTING INSPIRED Esperpento reading Don Ramon del Valle Inclan KNEW THAT COULD BE A GOOD ITEM NO SERIOUS AND COMMITMENTS, THE GRAPHIC REPRESENTATION OF A LITERARY CONCEPT ON THE DECLINE OF A COMPANY REPRESENTED BY HUMAN BEINGS DECOMPOSITION, MORAL SOCIAL AND PHYSICAL THIS WAS THE YEAR 1973 I never thought I would follow the nonsensical TO PAINT AN EVOLUTION IN MY ART, and the passage of time would become an involution, ARISING THROUGH THE YEARS A WORK IN OPPOSITE SENSE AND COLOR TO THE ACHIEVEMENTS IN THIS PERIOD .

COULD NOT PRESENT IN MADRID THIS WORK SO HARD AND EXPRESSION OF ITS CONTENTS, SO played at the MUSEUM OF GUAYAQUIL IN 1974 AND IN THE CAPITAL OF THE REPUBLIC TO SUCCESS This work is now part of private collections in ECUADOR.

OPTICAL PRINTING THAT MEAN FOR MY inns, Franco's dictatorship, THE DECLINE OF A COMPANY STOPPED IN TIME FOR FEARING FRIENDS MEET IN GROUPS AND A RANGE OF ITEMS TO MY ROOTS LATINOS accustomed to freedom of action and expression NO REALITY come to understand this somewhat surreal and full of feeling repressive TIME.

SPAIN THIS IS LOWER THAN WHEN I RECEIVED THE AIR IBERIA IN THE AIRPORT BARAJAS and listen to a tune of NINO BRAVO, AMERICA AMERICA THAT IS THE BIRTH THAT I SAW YOUR WEATHER MAN AND OUR AMERICA COLORFUL HEAVENLY of Liberals and dreams.

third stage. (The fat lara Harlequins)

NOT REALLY BOTHER ME FIND A MORE PERSONAL WAY OF EXPRESSION, BUT WAS FINDING THE SKELETON OF THE FORM, AND HAD THE COLORS, THE LANDSCAPE, BUILD, THOUSANDS OF KM WALKING AND PHYSICAL AND MENTAL LIFE MORE DEVELOPED WITH ALMOST THIRTY YEARS OF WORK IN THIS TIME DECIDED TO WEAR MY Esperpento became "ARLEQUIN Esperpento" describes DRAWING AND COLOR, HOW ARE TALKING ABOUT, find and solve issues technical and philosophical. YA has entered a serious identity and close to professional maturity.

MY PEOPLE WERE HERE IN SEPIA TONE, RED, BLUE AND GREY CONTRAST WITH THEIR SUITS AND HAPPY FACES PARTLY OR FULL OF MYSTERY,
A DRAWING of flowing lines and uncompromised academic formality. DID THE ARTIST FROM THE MYSTERIES OF HIS OWN HUMANITY.