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I was born in Las Palmas, Gran Canaria, 1988. Ever since I was a child, I have had a close relationship with art. My interest in the arts is in my genes, my father is a muralist, my grandfather a sculptor and painter, and my grandmother was a portrait painter. As a result, I have always been immersed in art and I’ve had a natural relationship with creativity that has been present throughout my life. Having the artistic background that I had in the family, I was advised to study engineering, a career that would offer the stability that a life in the arts may have been difficult to achieve and sustain. I trained as an industrial designer at the University of Las Palmas, Gran Canaria and for a few years I received training in both painting and sculpture at the prestigious Luján Pérez school, all other techniques are self-taught.

Until the age of 25, I lived between Gran Canaria and Tenerife. At 25 I decided to
move to Madrid for professional reasons and it was there that I founded my first design studio. However, I didn’t connect with the city and moved my studio to Valencia. Throughout this period of my life, I continued painting in my free time, always considering it as a hobby.

However, in 2017 I closed the design studio and started my adventure as a professional painter. From that moment, my growth as an artist has been relatively fast, all thanks to the acceptance that my work has received from the public.

My work

I have coined the term “Soul Painting” to describe my work. In order to define this concept, I will first have to mention another term.

“The collision”. Every time I embark on the artistic process when painting a new portrait, at a certain moment, the presence of the person portrayed becomes inevitable. That point at which the change occurs from being a canvas that has pigment deposited on it, to being a person with a soul who is present in my studio, I call “The Collision”. There is no given moment of the collision to any particular part of the creative process. In some pictures, it can occur early and in others almost at the end. So I have come to the conclusion that the level of detail doesn’t play a part at all. It is something that I do intuitively and can’t be explained with already established rules.

When we paint portraits, we are talking about more than just the technique and support we use. For me, a portrait is not about painting a face, it is about painting the soul. If I only tried to portray the features of a face or the forms of a body, the viewer would never be moved by my work. The key is to transmit an emotion, a feeling. First, you have to feel the work and then you can understand it. It is this approach that I always try to make with each work I create.

When I realised that the people who observed my work always agreed that they could feel a force coming from the canvas, I decided to call my work “Soul Paintings”.