The principle of this work stands on the process for which this perception becomes something fake. When our mind sees an object and perceives it as something natural, but that image does not belong to our physical environment.
Nowadays our sight and our contact with the natural world takes place, for most of us, at a speed of 120 km/h or through a plane or train window. Our glances are, so, absolutely different to those we could have barely a century ago.
Although our mind gives to that object a status of something “natural” because we have seen it, it is not.
We get this perception mainly through a new aspect, fugacity. That vision implies displacement and a short time of perception which, necessarily, is opposed to the intellectual inalterability of the romantic landscapes o to the light variations of the impressionist perception.
On the other hand, the perceived landscape is, by itself not much natural. Road landscapes, geographical distortions of the land as it is seen from the air… our environment becomes something fully human.
Why, so, should I paint these images? Because painting finishes the work of taking off those images any trace of trustworthy. Because the images themselves, road landscapes, lights, fragments, topographic spots, are not the important thing, but the facting of stopping by them, the fact of staring at them.