Moving to Switzerland at the age of nine meant carrying a very vivid set of memories, impressions, and experiences from Chile to Europe. My universe was formed by these two quite spectacular places that sit on opposite sides of the globe. Certainly, both places shaped my artistic palette, but I am not that interested in finding out exactly where things come from.

Both music and fine arts were options after finishing high school. I wanted to study both, but, of course, that wasn’t possible at the same time, since both are very time-consuming fields. I went for music first, always having in mind that becoming a visual artist would still be an option. My violin studies were, thanks to my professor, very intense and rich in content, not only in making music, so after finishing the studies, I had so much to think about creating that I decided to go down the path of a visual artist without attending an academy.

Painting always felt very natural to me, and it still does today.

Being a professor now at the art academy, I try to pass on to the students the fruit of my self-studies :-)

I don’t think in these terms very much. Ideas appear to me with quite an exact vision of how they will look - sometimes completely fictional, sometimes close to reality, and everything in between. I think that, especially nowadays, these terms are all very mixed up with AI, which can visualize anything you like. But for my work, I don’t see that as a threat; it’s just an evolution in visual culture and context.

It is probably the sfumato technique, with very soft color transitions, that creates this illusion. And probably the precision and love for detail help, I guess.

I am not looking for jokes - they can happen and serve as a gateway to meaningful reflection. I’m interested in the moment when our synapses are in a little pause, not knowing what the reaction should be, and we end up laughing. You could also interpret it as a reflection on our condition humaine, and our response to it as a species with a very strong will to survive. We find ways to make things bearable. This is where humor can come into play.

My namesake, Francisco de Goya - I can see so many layers of attention in the brushstroke that I would be very curious to get to know the mind behind it.

It’s the vision that decides; the ideas come to me as a package with instructions :-)

I like the idea of the swarm - the singularity of the miniature artwork in repetition - and the questions of value that emerge from it. In the context of selling art, it is also a very interesting point. Do we value things according to their size? Although we are very aware of the limitations of such assumptions, it’s probably a human instinct to give more value to, or to be impressed by, big things. I like the idea of creating something big with very small elements so that these artificial rules can no longer be applied.

I like the ambiguity of the motif. We all like sunsets and sunrises, but in painting, they are controversial, often dismissed as kitsch and unworthy. Breaking this down and painting them with the same dedication as any other subject can lead to an interesting transformation - and questions about the categories we assign to the images surrounding us.