Marked by the power of the Spanish and German painting as well as by the Russian romanticism, Asnaby defines himself as a painter rather than an artist. This difference indicates, in his opinion, a specific belonging, a companionship; it expresses his position vis-à-vis this ancient art: wanting to push its boundaries without changing the media.-" may be like a writer that can't escape the format".

 

"I have always associated painting to a dose of mystery and thought that the gift, certainly charitable, of the keys used for reading a canvas stifled its transcendence, and therefore the truth. That which spurts out of it or that which sucks us up, loses its strength." For Asnaby, painting is an interface between the mystical and the organic, an interface that it is not necessary to understand in order to be confronted in its entirety, whether this is done in one go or in stages and successive discoveries. The painting is a silent art, whose cry is internal.

 

"My itinerary (I prefer this word to theme or topic) sends us to the character of Eris, goddess of chaos, discord, war, plagues, disasters and more, a mythical character of ancient Greece guiding me in my visit to the history of the world. 

I paint the conflicts.

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A void, an apparent nothingness. A space, times, whether visible or not, permeates and tries to disturb the first approach.

I paint oblivion...from where arises a plenty, an overflowing which devours space. ."

 

Asnaby and the New Objectivity.

 

" Extreme aspect of human existence, the New Objectivity, without prejudices, keeps its function of unveiling and of the power of analysis; it gives up the subject of the person for the object of the history shared more or less by the human community "-Otto Dix, Germany, 1930.

 

- "I detached myself from this German figurative realism movement to keep only the expression of the abstract, of burning coldness and of magical visions through a cynical acuity, in a portrait of the flaws of global society."

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 Asnaby.