Inside My Studio: My Daily Routine

A canvas is never born from a single gesture: it's the result of a routine, repeated day after day, blending discipline with freedom. Many visitors who discover my work at exhibitions ask what a typical day in my studio looks like. Here, behind the scenes, is the daily ritual behind every canvas in the Collection.

Morning: natural light and set-up

My day always starts early, before the light turns too harsh. I consistently favour morning natural light to judge colours without the bias of artificial lighting — a habit carried over from my training years in Buenos Aires and São Paulo. Before touching a brush, I tidy the studio, review canvases in progress from a distance, and check yesterday's colours once dry: this is often when I decide the direction of a composition.

Preparing the palette and tools

• —Choosing the day's palette — often guided by my mood or by the canvas in progress rather than planned in advance
• —Preparing acrylic in several consistencies, from thin washes for backgrounds to thick paste for palette-knife work
• —Checking my palette knives, brushes and other tools, which I clean meticulously after every session
• —Protecting the floor and worktable, since my studio remains, above all, a working space

The painting session: structure meets instinct

Once the palette is ready, the painting session begins in silence, often across several canvases in parallel to give acrylic layers time to dry. I work in two- to three-hour sessions, alternating intense concentration — knife work on texture and relief — with deliberate pauses to step back from the canvas. It's in this back-and-forth between controlled gesture and outside perspective that I build the balance of my geometric abstraction.

The discipline of a repeated gesture, day after day, is what makes the moment of freedom on canvas possible.

Afternoon: shifting light and finishing touches

Later in the day, the light shifts and warms: I set this time aside for finishing touches rather than large colour fields, since tones read differently in late-afternoon light than they do in the morning. It's also when I review recently finished canvases, photograph works for the Collection, and prepare shipments for my upcoming exhibitions in France, Spain and Andorra.

A routine, not a recipe

This routine is anything but a fixed formula: it evolves with every canvas, every exhibition, every season. But its structure — morning light, methodical preparation, focused sessions, afternoon distance — remains the quiet backbone of every work now visible in the Collection. Check the News page for my upcoming exhibition dates to see this studio work come alive beyond its walls.