Pictural conceptualism

18 de Abril del 2010 a las 11:34:13 0 Leído (393)



My painting ideology is based on pictural conceptualism as a form of expressing the emotional load within the painter’s subconscious mind through quasi-geometrical elements. The use of geometrical or modular forms evokes a sort of sculptural construction that determines the oneiric fields that lie underneath our every day’s life reality. To me, Torres Garcia’s Constructive Universalism opened the pathway to understanding the distribution of the elements that take part in the pictural scenario. This distribution embodies the concepts that determine the space and the elements delimited by a specific structuring moment. The mathematical comprehension of space, as a form where elements reside in, will be determinant for the conception of the work. As in music, figures represent the coordinates where rhythm is attached to, and symbolize the behavioral pattern that supports the emotional load attributed to the painter’s ego. In the series Lithos, 1994-1996, I conceived the idea of representing sculptures painted on canvas as a way of conveying a massive representation of thought, space and scene construction. It was in the series “Mis elementos” (My elements) when I began to apply some of Torres García’s theory on structuring; the use of structural elements, signs and quasi-figurative forms were some of my primary tools. It was not my intention to copy his paintings, but I felt comfortable with the use of a pictural formulation that resolved many of the doubts I had at the time; I wanted to escape from the gravitational force of pure figurative or abstract paintings, and this technique exemplified the methodology for expressing my conception of nature and thought. The aim was to establish a conductive medium that would link the observer’s mind to my conceptual world, as an invitation to enter into my mind-gallery. All of a sudden new ideas and “on-the-scene” structures began to flow just like when someone turns the tap on. The involvement of the observer is an unavoidable, as it also is a prerequisite that prevents the painter from gloating over his/her work unproductively. Once again it is important to take into account the observer’s impression on the work he/she observes, for his/her criticism modulates the painter’s work without altering the artist’s enterprising nature. Bit by bit, I was introducing myself into the sphere of primitivism; I did not rule out the use of perspective elements, and I still don’t, but I began to conceive nature and its elements as symbols of our own perception, where they are represented as icons of our existence and origin of our thought. As a first step forward, the series Opus Nova described a sort of iconography embodied into a flat structuring; this lack of perspective is used as a valid instrument and taken into account just because of its absence. The determination of ideas is based on the aesthetic principles of the painter, where this factor, aesthetics, represents a philosophy that is intimately related with the observer’s emotional status. The series Opus Primitiva represents another step forward, or somewhere. My intention is to make an approach to the masterly work of primitive painters, where they represented nature, not as a copy of it, but as an icon of their lives, their sufferings and their striving for survival. To our “modern” eyes, their works lack the elegant and delicate touch of our modern technology, which has permitted us to express the nuances of nature, although technology has, across time, modified the message that lies within the scenario of Nature.

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