Someone could see in Red Line a series dedicated to transsexuality or transvestism and also interpret the painted characters as victims of a hostile environment. However, these portraits were born with a totally different intention.

Before being about transsexuals, drags or homosexuals, these characters are men who have struggled and their makeup, more than a flighty vanity, is an instrument of self-assurance. Facing the limited and stereotypical concept of being a man — marked by the subtle red line —, they seek a more complex identity that fulfills their needs and gives an answer to their concerns.

The wounds that chromatically melt with the makeup are the concrete proof of what they have gone through in that desperate aspiration: the heroism of fearlessly finding oneself.