In front of his works we get the feeling that we aren't looking at paintings but worlds, with their own rules, with special trend and even a permanent process of development alien to its author. There´s no good, only conscience. Coincidence and fate handle the pulse that covers the canvas. It´s the fusion of texture and pigments that converts a conceptual development into a stroke and later into a painting.

We can apply thousands of descriptions and Isms to Uxio's works, but this will only constrain and curtail them. The artist's works remain aloof from Isms not because of a lack of knowledge but because of his pure creative will. Thus, figurative, expressionist or minimalist references can be found in his painting. The result is homogenous and coherent. “Barullo“, which gives title to his last exhibition, is a seed of creation, his personal “big bang“.

The seductive power of Uxio's works make his painting very poetic and in some cases not far from the sens of humour where music, a special part involved in the artist´s creative process, underlies. Deepening in Uxio´s works, in his world, involves a fascinating exercise, a wonderful aesthetic adventure in which as we keep moving forward, we discover new territories full of surprises and hints ending up taking part in and sharing all that world, becoming subject to its laws, its dynamics and why not, its evolution.

A primitive chaos lives in the lower floor of the artist´s conscience. Powerful forces come into contact, shake the frame on which they stand, knock on the neighbour´s door remaining unrevealed for ever and without becoming a word or concept. They demand attention, they address the mind and the sens, to hide again before they are discovered, leaving only a small mark consisting of a slight elusive trace. The act of creating consists largely in opening a way to these forces, leading them, albeit at slow pace, providing them with shapeless material shaping and allowing them to operate.

By leaving these reporting currents free or on the contrary, by trying to dominate them with an iron fist, the demiurse opens the doors to different worlds: suggestion against imposition, letting flow instead of fighting, mist instead of light, the quiet and not the thunderstorm, a melody instead of dissonance, placidity instead of aggressiveness. Uxio knows a door to go in and out in these parallel universes. There is a telluric pulsion in his work, where substances such as aluminium and acid, metal and corrosion, dominate, simple chaos that the artist manages to transform into a radiography of the moment, in works where the shapes and curves are the result of chance caused by the material itself, leading to light subtle compositions with strokes drawn by the rain on glass, but at the same time strong, vigorous, indestructible.

This uncondensed variety goes through Uxio´s work no matter what material is used, paper, cloth or wood. Preparing the shot is more important than hitting the target. There is an Uxio that explodes in colours, dominates and prevails. And there is another Uxio who hints, proposes and sails on the edge of an evanescent shore of a questioned reality. Between being and nothingness there is place for a negotiated land through the intuitive symbolism, a key which lets communicate both worlds postponing the contradiction which they are heading for, like that transparent White which he uses skillfully, where the opposite elements seem to be dissolving without fighting, with affection.

That's the way the images come out. The windows, waterfalls, the marks on the iron, the studies for a flight, the hiding man, the metalwreck, the announcement of other periods, the smile of the thunder, the new petroglyphs, the crossroads of the shadows, the Chinese boxes, the sordid ejaculation, the thunderstorm of the strokes, the memories of cubism, the spilt colours, the dance in red, the emptiness schemes, the endless cream, the combined densities, nowhere´s maps and many and many other - little ideas in short periods of time - that Uxio triggers in the mind before closing his door and going back to his necromancer´s cabinet.

Born in Irún (Guipúzcoa), in 1958 and I think I was born as artist. Painting is my great passion in my life. A son of Galician parents, came back to homeland at the age of 4 and ending up living in Trabanca Badiña, a small district in Vilagarcía de Arousa where I grew up and at the same time so did my cultural interests, special the artistic ones encouraging me to take part actively in the volatile cultural life of O Salnés without missing an opportunity to share experience.

It's not easy to talk about the artistic work itself. I'd rather simply exhibit it so that everyone comes out with their interpretation, that thing caused by their emotions, which probably have nothing to do with the ones I felt in the studio while I was conceiving the picture. Anyway, I can say that in my artistic work there are several facts identifying me over the years.One of them is the use of pigments related to the aluminium industry which I'm liked to professionally. This type of material applied to different supports (canvas, paper, wood or aluminium itself) help me to set very special textures. For the application of the pigments I make use of any type of utensil, classical brushes, a piece of cloth, brooms, my hands and even my feet.

Another characteristic of my work is the brushstroke. Mine in not a thin line. On the contrary, I like to see reflected the uncontainable mark of the gesture itself in the work leaving always wide space to chance, error, the uncontrolled evolution of the materials on the picture. E, por último, teño que falar da música. En máis dunha ocasión teño dito que non sería capaz de pintar en silencio. Sen música. O primeiro que fago, antes de coller os pinceis, é encender o equipo de son. E alí, na soedade do estudio, acompáñame Van Morrison, “behind the ritual”.