In 1994 , while making analogies minimally participating in the documentation of urban consequences, by metaphorically combining found objects I was confronted with the idea of expressing this way on paper .
As my objects combine changing meaning accordingly, in a world full of images, the transition was fairly simple. The images were chosen and combined, but the neatness of the blank paper made me feel uneasy. I couldn't identify with the pristine beauty of paper. The pieces lacked struggle and hardship, so I threw these works in front of traffic and let them be ran over.
Soon I wanted to move this to canvas, reinterpreting the meaning of car tracks. Still using appropriated images, the canvas turned into self portraits, in which I wanted to find the edge between my angel and my devil. Later I pushed my self to leave the images behind, with "montgallet metro 8" on paper and the "montgallet paintings" on canvas (with no appropriated images and no external attacks) only adding and subtracting layers.
Some years ago, I decided to redo car track paintings in a more austere way, interpreting it as different peoples trajectories, choosing the mark that separates our influences from the unreadable blank that can only be understood by ourselves.
The shadow paintings I started in 1993 as outlines of shadows in sidewalks, gradually became more symbolic of me as a chronic emigrant.
ln 2001 by bringing it to canvas with its coordinates, inviting to a journey in search of completeness of the painting.
In these new works I'm transposing motion and permanence, line and surface as well as location and condition, juxtaposing these two different series.