Painting emerged as a way of translating algorithmic censorship into matter: iterating an image until it becomes “permissible,” then giving it weight again, as if pigment could retain the trace of permissions and omissions. I do not illustrate; I document the edge where the machine can no longer speak.

Prefiero el gesto que abre camino a la consigna que lo clausura. Pinto para pensar; si intento que el cuadro sea fin y no medio, se vuelve más estrecho de lo que pide.