For the past 20 years I have been deconstructing 'the nude' through drawing, painting and collage. Collage is a perfect medium for reappropriating and juxtaposing images from many sources and rearranging them as personal metaphors, analogies and ambiguities.

These collages were static symmetrical constructions, portico's with pathetic vegetation, the gateway to the realm of dreams. They were done with colored paper in black, orange or blue dye plates. Although cubist painting interested me very much, not a trace of their influence was to be found in my collages.

I always try to use new media for the gallery, but I realize that pixels and mosaics are mainly my signature.

The mingling of object and image in collage, of given fact and conscious artifice, corresponds to the illusion-producing processes of contemporary civilization. In advertisements, news stories, films, and political campaigns, lumps of unassailable data are implanted in preconceived formats in order to make the entire fabrication credible. Documents waved at hearings by Joseph McCarthy to substantiate his fictive accusations were a version of collage, as is the corpse of Lenin, inserted by Stalin into the Moscow mausoleum to authenticate his own contrived ideology. Twentieth-century fictions are rarely made up of the whole cloth, perhaps because the public has been trained to have faith in "information." Collage is the primary formula of the aesthetics of mystification developed in our time.

Literally the stuff of everyday life is transmogrified into large-scale, vibrant works that combine painting and collage in a style that is instantly recognisable.

I think that’s the thing that happens in my life that is closest to art and so I tend to make art about it. I also really love nostalgic writers. Two of my favorite writers are Proust and Nabokov, who are all about lost childhoods and loves that could have been.

Art with layers inspires me – not only physical paint layers, but layered conceptual meanings.

(What is Your inspiration?) My inspiration comes from many sources. Clearly, Mother Nature has always occupied an important position in this regard, which is tied up to my early experiences in Mexico. In addition, the patterns used in Mexican arts and crafts—ceramics, textiles, tiles, masks, etc.—also have been present in the development of my mental and artistic imaginary from the very beginning. Other elements that I can mention are indigenous myths and legends, the expressions of other artists from various cultures, iconic historical figures, and the works of poets and other writers, some of whom are my friends. Obviously, my surroundings are also a big source of inspiration, as my series of paintings on the Pacific Northwest clearly show.

Towards the end of 1958, I greatly increased.. ..the works done with what is called poor material. I felt the need to persist and go deeper with the entire message of what is insignificant, worn or dramatised by time.. .In fact, it was the most conscious resumption of subjects that had often attracted me. In my research, I had discovered this material, one I find loaded with strange suggestions, which is cardboard. A grey, anonymous material that won't be easily manipulated, for which very reason the slightest mark of the hand torments it and destroys it. But the piece of cardboard, the box, the lid, the tray.. ..dirty clothes (socks, T-shirt, underpants...), old furniture, everyday objects; not used as a representation or theme in the picture but as real bodies, objects.

I have a need to create works that are not just shocking, or say: striking, smashing – but also such works that can become companions of my various life events, and become companions of other people in their situations. These are the works that I create from the deep need to communicate with my sense and my ideal of beauty.

From the start, my work has been an interaction between art and poetry.

My collages are only ideas for things much larger – things to cover walls. In fact all the things that I have done I would like to see much larger. I am not interested in painting as it has been accepted for so long – to hang on walls of houses as pictures. To hell with pictures – they should be the wall – even better – on the outside wall – of large buildings. Or stood up outside as billboards or a kind of modern 'icon'. We must make our art like the Egyptians, the Chinese & the African and the Island primitives – with their relation to life. It should meet the eye direct.

I write visually. I'm a painter who uses words.

...So many things go into the making of a creative work – a linguistic-literary tradition, an entire cultural lineage, history, one’s own experience and that of others distilled through observation, new readings and lessons learnt, hope and despair and playfulness and sadness, all feeding the writers’ imagination in tangible and not-so-tangible ways...