A collection of visual works.
VIEWPOINT was born as a series of self-produced books collecting all of my
visual works, year after year.
As of the time I write this, only three paperback volumes had been printed in
a limited run of around 500 copies each, and they all sold out quickly.
If you are one of the lucky (?) owners of an original edition,
you might notice that in all three volumes there is in small print:
“A self-made limited edition prototype for a deluxe book to come.”
The deluxe edition actually happened.
Well, Viewpoint DX Vol.A is that deluxe book I had teasing about:
it contains a selection of drawings that are very different one from the others,
reflecting a devious path I ended up following during my formation process
over the years.
Like 99% of other artists, a love for drawing was the original spark that started it all. I then studied industrial design rather than proper fine art classes.
Back then, I was very frustrated: I wanted an academic, full-fledged, classical painter’s education, but my family insisted that art school was a bad choice, offering small or nonexistent employment opportunities. I still feel a huge sense of inadequacy about my work, knowing that it could be so much better with a deeper education.
Still, design classes brought my idea of drawing and visual communication to a totally different place. I was suddenly convinced that poetry and technique are inextricably linked, one being the lucid choice of the other, so that every formal device has its reason to be that way. The medium itself should be chosen according to your communication/artistic need.
That’s why there are some ideas that are perfect for a painting, a single image, as strikingly powerful or subtly layered that it may be. Some other ideas develop as a sequence of images, and need a visual progression to coherently express, such as with comics — what is it that happened before and after a drawing that you like so much? How do you make visual senses flow between individual images? Animation and sound give a totally different meaning to images than they have in comics. For each need you can choose your favorite solution.
Now, I know that my general approach to art and form may seem a bit lofty in its intention.
I admit that. And that’s why I may never reach that level of excellence that purists and specialists have in their unique field of choice. I’m aware of that. But never being satisfied helps me change “skins” a lot, trying to find a better way, or tool, to catch what inspires me most, every day.
I hope you enjoy the work in these pages, and can appreciate them for their individual stylistic intentions. As I continue to grow and experiment, I hope you will be encouraged to do the same.