A fundamental aspect of the work is the support and how it determines what I do, and simultaneously, how the painting itself has guided me precisely to its choice. Support is not a mere place where things happen, it is not a background scenario. It is part of what happens, why it happens and how it happens. In my case, the support on which I work is wood, specifically DM. This material in its relationship with my painting offers factors that I have been looking for for a long time: Resistance, discomfort and fragility. It offers resistance and therefore it works from the discomfort and this generates a strange idea of fragility. The canvas, the paper and in general the classic materials of the Fine Arts, are kind materials. They receive the painting and get hooked with it with absolute ease. His destiny is that, to be painted, to be worked. The DM, however, is thinking to get between things, separate and isolate them. It is a material that largely repels all the materials I work with. This makes the painting always the result of an intense and prolonged struggle between the support and myself. The painting, in this way, is situated in an awkward territory, between a sword and a wall. Or almost between two swords. A support that constantly rejects it and I, who try to impose it. Impose it from reflection and physical insistence. Because you have to insist tremendously on it so that things begin to happen. The image always appears as it takes hold in the look itself and begins to consolidate itself in the support itself. Insist, layer by layer, to hold the image in a delicate balance. Mask and repent, to reveal and take hold. In that tension and fragility, in that search for the resounding from the brittle; there I want to position myself as a painter.