Perhaps because of my scientific background and my lack of formal art training, I have taken a lot of risks and explored new techniques. My textural surfaces are built with paint, many layers of paint, built up one over the other. I don’t use modeling paste or other fillers, just paint, straight from the containers, mixed right on the canvas. It’s a physical process. I apply paint in various ways, sometimes unusual ways – pouring, splashing, dripping, scratching, and so on – until I get what I am after.
I strive to produce paintings that exhibit the powerful emotions embodied in the process. That is much more important to me than making images that are necessarily pleasing or objectively beautiful. My work is guided through its material operations by intuitive processing of my moods, feelings, and flights of fancy. An image arrived at through such a slow, deliberative set of processes appears fresh and immediate by maintaining spontaneity at every turn. The destination is unknown until I finally get there.
The title of each painting, then, ideally hints at both its physical appearance and the poetic ambiguity of the long journey that brings it into being.
Adam Narcross recently wrote the following about my paintings: “They say that paintings are the mute art, but I say in the case of Eduardo’s works his paintings are far from mute, all you have to do is listen, and the whisper you hear is the music that comes from the hand of one of the gentlest souls to grace canvas with the loving caress of a brush or palette knife”
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