My work is chiefly based on the observation of nature, but not a passive observation. The act of painting, for me, is an act of sensitive reflection and a way of experiencing everyday life in which I am continuously questioning myself, delving into the internal and external worlds where, more than a practice, art becomes a way of life. I try to carry out my work from a sincere, socially engaged angle, currently with pressing environmental issues, taking solidary stances on important social, cultural and political issues. The science factor is one of the three ideas on which I base my work; the other two are art and revelation — three fundamental methods for the creation of knowledge. Indeed, any procedure for constructing knowledge includes a pondered balance of these three pure, essential methods. Philosophy, for instance, resorts to a strange combination of all three. As Jorge Wagensberg declared, 'The greatness of science is that it is able to understand without sensing; the greatness of art is that it is able to sense without understanding. Wagensberg, who held a Ph.D. in Physics and taught Theory of Irreversible Processes, analysed the entropy of knowledge in his essay El mapa del conocimiento, where he explained, 'Knowledge is thought that has been simplified, coded and wrapped up, ready to leave our mind and capable of penetrating reality in order to have a chance of stumbling upon another mind able to decode it. One mind suffices for thinking, [but] at least two are needed for knowing,' and he proceeded, 'while thought is an intimate and presumably infinite product, knowledge is a transmissible and necessarily finite product, set in time and space. In contrast, analysing the form of knowledge provided by art, he stated, 'Art distorts reality in order to expand an experience', and also, 'A work of art is a finite piece of reality that condenses and congeals a thought.