"I have this image in my mind. There is a horizon where things finish. They are not anymore. It’s the edge: so much is behind but you cannot see it. When walking around the flat fields of Castilla I always look at the horizon. You can walk and walk, and the horizon does not move; it seems as if you never move. I remember this very old woman that came to Salamanca to visit her grandson, a friend of mine. It was her first time in her whole life away from the mountains of Galicia. She was impressed by the big sky of Castilla, and looking up, she said that she was afraid that the sky would fall, without having the mountains to hold it up."
As Lyotard says, perceptual ‘recognition’ never satisfies the logical demand for complete description. It is like walking through Castilla and knowing that you will never be able to grasp the horizon. This dissatisfaction is related to the sublime: "It is the suffering in perceiving and conceiving produced by the impossibility of unifying and completely determining the object seen."
In my work I present this gap, or impossibility of total description, by the combination of two ways of seeing or perceiving. These two ways are described by the Situationists as the optic and haptic ways of seeing . The optic way of looking scans outlines, establishing relationships between objects that are neither connected nor in contact. It is related to seeing and it can be compared to metaphor. For example: the shack is similar to a house or to a skyscraper or to a trailer home. The hatpin way of looking considers surfaces, grounds, backgrounds, textures, colors, etc. It is related to metonymy and related to touching. For example: the shack has been discolored by fire, or it has been built with a certain type of wood. Both ways of looking overlap each other and satisfy different desires; they are statements that contradict each other but still may be true.
For this reason, I am interested in the mysterious relationships between two-dimensional and three-dimensional representation. The lines that separate both of them become confused. For instance paintings, drawings and other two dimensional images are 'touched' with your eyes. Sometimes the desire is to reach further and to touch with your hands. This could be one of the original reasons that made me view paintings and any kind of two-dimensional representation, as objects with a surface that cannot be grasped.
 Jean Francois Lyotard, The Inhuman ( California: Stanford University Press, 1991) 17.
 The Situationsits were a philosophical, political, artistic movement 1975-1968 responsible for the Occupation Movement, France, May 68. It was formed by the union of members of prior avant-guard groups: the Imaginist Bauhause, the lettrist international, and Cobra.
 A figure of speech, is an expression taken from one field of experience and used to say something in another field.
 A figure of speech by which a phrase or word is use for a related phrase or word. For example: we say that listen records but we actually hear music. In this case we are naming the effect by the cause.