Synopsis:
The painter's task is not to seek to satisfy the spectators' expectations, but to reveal that emotionally and intellectually gratifying conclusions create comfort zones alien to human experience. The absurd, the grotesque, the irrational, are concepts that cannot be ignored when confronted with one of the most enigmatic human mysteries, the unfinished nature of the subject.
These paintings resulted from successive moments of construction and destruction, and leaving this turmoil explicit, they accumulate contradictory meanings that shatter apparent expectations. Unlike a conspiratorial plot, in which the existence of a true explanation is assumed, to be revealed, in the case of these images this final truth does not exist, frustrating the subject's desire of closure. The explanation he arrives at is no more true than the initial one, and he has only to restart his unsuccessful search. This process of loss of innocence accompanies our entire formation as subjects: we are born organisms and become subjects by internalizing our culture, inscribed in the practices of signification that surround us, in the process of language learning. We make it capable of signifying, but the language that allows it is, irremediably, that of the Other.
The skin we present to the world is made from the outside and always leaves the subject naked, raw. The crocodile lives simultaneously in two environments. Its dual nature makes it an ambush predator that is always on the lookout for gullible prey. You never know when you're going to attack: maybe you already have.

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I was widowed one night at three forty-five minutes when I was sitting by the bedside of Edith Lieberman, Chilean, Jewish, French teacher, and in the bed next to a Brazilian woman dreamed of a crocodile, a mechanical crocodile that chased a girl for a lot of ash
- Roberto Bolaño in Woes of the True Policeman