"When I draw, I make it a condition that all the marks are visible and that no corrections are made. I apply a system in which a first line prefigures the ground line and if an irregularity occurs, it is passed on to the next line. Similar processes occur in nature, so that the final work of art relates to familiar patterns and shapes such as surfaces, fabrics, fluids, orography, waves, and so on.

The basic idea of drawing is not to represent something, but to activate a process, unconsciously when we talk on the phone, a drawing like a musical improvisation.
I see the matrix once it's finished, with the size of the drawing already invariable and the idea frozen. That's when the stamping process begins, with its dynamic movement that runs through the plate with its richness and life."