At the beginning, there is always the color of the tube —the deep ultramarine blue or the fiery carmine red— to create the palettes. Then, another color emerges, the dirty, mixed one, which forms as a result of the action on the canvas. With different tools such as spatulas or rubber combs, I remove some of the still-wet oil paint, subtly revealing a dry layer of color from the previous one. I’m interested in that vibration that occurs between the colors in dialogue, either by contiguity or by the juxtaposition of layers. Sometimes I rotate the canvas. This action offers me new ways of interpretation. In a layering of planes, lines, and curved brushstrokes, I paint —balloons, wombs, leaves, tunics, crowns?— resulting in a narrative where different characters become protagonists.