When I began these works, I started from the mythological concept embodied in turbulent images of coastal geographies where the point of view was often that of those who sail the sea in sight of the coast. The ghostly configuration of the shoreline was induced by the thought of sailors who witnessed ocean storms as the actions of mythological beings. Adamastor, the mythical giant son of Zeus, is a figure who embodies the feeling of insignificance of sailors who knew that the forces of nature could pose challenges to fragile caravels. The potuguese poet, Fernado Pessoa refers to this mythological being as the "Mostrengo that is at the end of the sea", it was to this monster, to whom the sailor with hands tied at the helm, intended to claim territory.

In this installation there are elements that somehow convey pessimism about a historical adventure that did not serve to make lasting progress but that left the mark of what could have been. The statues could be made of salt and not of stone, as they are evoking a vocation that faded away in time. The rotten apples that seem to hang in the air are a sign that something has gone wrong, making the maritime adventure not have consequences in the future on the scale of what they represented in their time. The stones inscribed with phrases by the poet Fernando Pessoa were found in a bay where the poet Luís de Camões may have disembarked after the failure of his adventure to the east, even so saving the precious manuscript of his masterful work, "Os Lusíadas". In the sets of paintings that followed and which were given the name "Open Range of Doubts", some images can be identified as armillary globes and spheres, rudimentary vessels dug in the heart of old trees, or oversized coast flags. Many of these symbols will sink beneath the systematic layers of paint, a few will remain visible, but what matters is that they are part of the association process which in the end will be a set that can be seen as a tribute to the historical substance we have designated as courage, the same that comes from the contingency of having to overcome fear.

There is a latent night in my paintings, the charged colors define hard and cold shadows but there is always a spot of light that creeps through a patch of sky. This image of discomfort transmitted by the landscape itself emerges from my desire to wring from the territory the essence of fear and insecurity that crosses all the maritime adventure. History tends to create heroes a posteriori, but it is likely that many of the anonymous characters who at that time populated the sea were mostly outcasts who were marginal and lonely from society. This human mortar, without which any adventure was not achievable, formed the mindset of those who feared the outcome of history and invented ghosts. The clouds that rise in the air on stormy days and cast terrifying shadows on the sea are still today a reverence to those paralyzed by fear, with their hands tied at the helm to keep their course, keep moving on.

If the painting were not realistic, I would not be able to convey the concept in the way I want. The image is as diffused as my paintings always are, but what is there has to do with an idea and all the forms that are required to represent it and those who want to see a narrative there, they are looking in the wrong direction because what is actually there is an archive of impressions, a sum that is difficult to understand but which adds space and time just as it evokes fragments that are arranged, not in a logical and sequential way as in a history book, but simply associated according to a principle that each one should unveil.