Since beginning your exhibition journey in 1996, your art has been showcased in Spain, the United States, Canada, and virtual platforms. How has your work evolved over this time, and what insights can you share about the impact of different exhibition spaces—physical and digital—on the reception of your art?

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Practically speaking, having handled shipping of large pieces and the complexity and expense, I have mostly switched to canvas and stretchers which can be disassembled as opposed to on masonite and board which cannot. Some of the paintings I was shipping were 8 feet long and on masonite with a solid oak frames. Having the constraints of budget always an issue, I found that virtual are a viable substitute to physical exhibitions which can be quite demanding and many times beyond my fiscal reach. This is also a good platform for my video creations which, as much as I would like, do not require my attendance. I have always had to be self-reliant and find that it’s necessary to adapt, evolve and remain flexible in order to continue to do what I cannot, not do. The responses have been very good and as much as I am open to critique and commentary, the best have been lengthy and concise whereas the least favourite have been abrupt and occasionally rude and, having said that, at least I illicit a strong reaction. When I present my work I hope that the titles and pieces are enough and I don’t see how lengthy and profound explanations are necessary although I do understand that expressing myself in my style might sometimes be difficult to comprehend. One of my favourite descriptions of my style was - “existenciaismo militante” / militant existentialism regarding a solo exhibition I had presented in Spain.