His research addresses the infinite possibilities of the objects and materials he associates, through a conceptual and aesthetic discourse seeking what lies beyond “images.” He adds and steals parts to stained glass windows and Gothic rose windows, to grates from ancient confessionals, to sublime skies (stormy or starry), playful perspectives where the sense of humor is a close and empathetic accomplice. His works maintain a narrative charge linked to the history of art, where the artist investigates the rhetoric of religious representation, breaks schemes and reverses expectations. He invents rules, perforates surfaces, adds and removes matter from his works, desacralizes them, uses his iconography and variations, not only to recreate in it a version of the wonderful, the difficult to represent, but as a form and plot of an action that allows it to develop an infinite number of worlds through which to link us to new ways of approaching images.