"Spectrometry" is a scientific technique used to analyze and measure the properties of light and other forms of electromagnetic radiation as they interact with a sample of matter. At its core, spectrometry identifies and quantifies different components of light by dividing them into a spectrum of specific frequencies or wavelengths. This division allows the analysis of the physical and chemical characteristics of the sample, such as its composition and molecular structure.

When white light passes through a prism or diffraction grating, it breaks down into different rays of light. Projecting these emitted rays onto a screen produces a range of colors ranging from red to violet, known as the emission spectrum. The resulting color is directly related to the wavelength of the light.

The opposite movement is also possible and is the principle behind the operation of screens, where light is produced and combined instead of broken down. Each pixel is made up of three subpixels of light – red, green and blue – whose intensities can be adjusted independently, and are electronically controlled to emit light at different brightness levels. The combination of these intensities in different proportions creates a wide range of colours visible to the human eye, taking advantage of the phenomenon of **additive colour synthesis**. When the three subpixels (R, G and B) are at their maximum intensity, they produce white light.

In the field of painting, the challenge of colour goes beyond the physical understanding of light, approaching the realm of experience. Goethe's theories on colour inspire a conception of painting as something beyond the scientific decomposition of its properties, challenging the idea that colour is merely a physical manifestation. For Goethe, colour is an experience that involves sensation and context – it is therefore a psychological and subjective phenomenon. In my artistic practice, I seek something similar: not only to capture light, but also to construct a sensorial and subjective presence of it.

Over the centuries, painting has always reflected a direct relationship with technique and technology, but what interests me is precisely its ability to escape strictly rational logic, circumventing rules and constructing meanings that operate outside the limits of the scientific. By evoking light and color in my works, I propose not a faithful representation, but a poetic and artificial version of reality, finding solutions to make visible or sensible what surrounds us.

I pursue the idea that light can not only be captured, but made present, materialized in painting, an unattainable desire that accompanies the history of this practice. I seek, even if it is beyond my reach, to transcend the physical mixture of pigments and to approach again and again that which is immaterial.