"Saturation" stands as an emblematic condition of our time, transcending the material to imbue cultural and perceptual dimensions. Inspired by the social critique of thinkers such as Gillo Dorfles, Guy Debord, Naomi Klein, Byung-Chul Han, Rob Nixon, and Zygmunt Bauman, this notion encapsulates both sensory oversaturation and the consequences of unchecked consumption. In The Lost Interval, Dorfles warns about the erosion of contemplative spaces in contemporary culture, while other authors analyze how this phenomenon sharpens inequality, alienation, and the ecological crisis. My work explores this contaminated landscape, revealing a "slow and invisible violence" that silently corrodes our surroundings and daily life.

Linked to horror vacui, saturation unfolds in multiple layers: from the tangible to the perceptual, fracturing our attention and collective memory. This concept underpins my eponymous artistic production, developed along two main axes: The Plague, centered on the accumulation of visible waste and its impact on landscapes; and a series that explores invisible yet physically invasive phenomena, such as radio-electro-magnetic pollution. Both lines reflect on how visual hyperstimulation and the advertising colonization of public and leisure spaces define contemporary neoliberal societies, expanding the traditional boundaries of painting toward hybrid expressive forms.

In this series, I approach saturation as an allegory of contamination—plastics, global warming, toxic waste—that transforms cities into landfills, consuming entire landscapes and leaving an irreversible mark of human intervention. Through painting, I explore the hypothesis of contamination as a planetary disease. Merely discussing "ecological damage" is insufficient; following James Lovelock’s Gaia theory, I conceive the Earth as a living organism in crisis, where every ton of CO₂ and every microplastic particle are symptoms of a fever induced by our civilization.

The Plague, as part of Saturation, deepens an ecological reflection based on Gaia theory, visualizing the planet as an organism saturated and ailing due to anthropogenic pressure. This proposal also engages with Rachel Carson’s pioneering warning about environmental deterioration, emphasizing the urgent need to collectively assume our responsibility in the face of the current crisis. Through this work, I seek to show how contamination gradually corrupts what was once noble, pure, and clean.

Concept: It represents the degradation of the physical world, showing how the landscape—traditionally a symbol of purity in oil painting—is impregnated with corrosive elements characteristic of our time.

This series investigates that which escapes the eye yet dominates our lives: the intangible saturation generated by the constant bombardment of technological stimuli—omnipresent advertising, all-consuming social media, and fragmented information—that invades our perception and distorts our attention. As Guido Dorfles warns in The Lost Interval, this overexposure not only damages our environment, but also erodes our internal spaces for reflection and awareness. We live in a reality where residue extends beyond the physical, accumulating in our minds through invasive algorithms.

Concept: It materializes the imperceptible, visually capturing the sensory and cognitive intoxication caused by this invisible contamination.

In my work, saturation is expressed through two series that, in dialogue with pictorial tradition, subvert it and offer a critical reading of our contemporary reality.