Cris paints the human figure or signs of its immediate presence / absence.
The images are about the ''I'' always, the inner workings of one's mind.
He is increasingly attracted by the depiction of missing centers, of inner chambers, the manifestation of an absence.
The representational pull is a heritage of his architectural background.
Realist description serves narratives of Surrealism re-contextualization, re-associations and re-shuffling of parts. The images are about a 'fresh-eyes' look on persistent obsessions. A way of dealing with today's deluge of cliches is de-constructing, de-recognizing, working back on the mechanisms of perception (Francis Bacon's 'figural').
To mediate a mechanistic representation, to distance from the narrative-descriptive, layers of pictorial matter are called upon: fluid mediums, watercolor, inks, pastels, collated found prints.
The images build up through cycles of partial cancellations-reaffirmations of the intentional, subjective, precise drawing with tides of randomly applied, accident induced color. These successions aim to create a depth in terms of moods, to account for the passage of time, to dismiss the conventional linear perspective (which sometimes is played upon). The background, the matter-texture, comes forward and drowns the main subject, displaces the story, cuts the narrative impulse.
Memory is an essential trigger: one is what one remembers, recognizes.
A further liberation from the immediate description is painting what one knows, an accumulation act of seeing, a 'Cubism' of remembering of sorts.
Personal photographs are often used as a source or even directly collated; photographs allow a distance from that 'real', 'dead' past. They are part of the memory syntax, continuously re-assumed, re-cognized, re-discovered, re-cycled. One remembers the photograph rather than that actual captured moment. The photograph is simulacrum: the copy becomes a new source, a point of entry for an experience in the present time.