To see or to burn

The title poses a dilemma that gives rise to a long sequence of paintings that explore the premises of the first term. The intention “to see” places the viewer at risk, because they become implicated when they discover what did not exist at first glance, because it had been ignored or erased. Those who look become involved in what they see, whether they like it or not, because they participate with their whole body — their experiences, lessons, sensations and thoughts — and can no longer remain aloof, because they now know, and what they see burns them.
Their responsibility as an eye-witness does no consist in exhibiting their gaze, but in sharing what they have seen with others and raising the alarm about the danger before the signal disappears. From this position, the intention to see entails the endeavour of remembering in order to imagine alternatives and to open up possibilities, against the dead weight of an unchanging past, doomed to repeat its mistakes if it is not re-examined.