The multiplicity of shapes has always been present in my work, in themes such as Fábrica das Flores, Fábrica de Sapatos, and in the form of crowds. Everyday crowds, crowds that migrate... Contemporary migrations. In the elements produced in series, in the conflicts, in the newspapers, in the garbage, I find a world to be questioned, fascinating by the poetry of the images and the playful experience provided by the colors and shapes. (An unquestioned life is not worth living. Plato.)

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Today, more than ever, we are "crowds", like pixels on a screen, and at the same time unique. We live in the dichotomy of the conflict between the perennial and the passenger, the search for the direction and the fear of failure, but always looking for the hope of the way. We live in a time of connections, of interests and collective demands, a time of social networks. Our individuality is identified with others and we fit into the collective. The Crowd is the pictorial space where individualities mingle to become part of a greater color.

Up close, in small lines, people can be identified, appearing or disappearing in the space of the canvas, sometimes walking, and, in the distance, a feeling of ensemble, of mass, of collective. Small colored strokes made with oil pastels, resemble pixels of the digital image, combine with each other and create the impression of crowds.

Traits that, in his conception, are unique, are part of a set that borders on the abstract, were it not for the efficiency of our brain in recognizing the similarity with the way we see large clusters of people. The identities mingling in a river of presences, united by their ideas and needs, looking for a direction, sometimes growing and uniting along the way, sometimes separating in new directions. The backgrounds, in acrylic painting, lend meaning and complement the theme of the works.  We are a multitude of unique, exclusive beings, and as such we contribute to the concept of the whole.