Pin arte

About the Artist

We see colours, pure as the respected mistery.

The eyes want to get inside it and profane it, but the artwork doesn’t reveal it’s secret: to offer to the sight a secret, this mystery, requires its alterity to be elusive, transcendent, like what in reality is absolute, compelling but elusive. The mystery returns to its opacity just when it promises to be revealed.

With the sight, the spirit reaches the artwork and embraces its own silence, the opportunity to listen, specially to itself. There is no noise anymore. What is given to us is the ability to continue receiving.

Pin’s works are spatialized time. They incorporate time not as length of work (product) but as an element that in its flow provides a unique form in space. Pin’s work does not take a moment of that flow, stopping it: it is just part of that flow. Lines do not capture the movement; they are free gestures of the pure pigments and the matter. The theme of each work is the result of this process in which technical knowledge and fun come together.

The author admits that each work it’s an self-built object. The artist-demiurge lets the artwork born. He gives it freedom to become by itself what embryonically already is. Rightly, Carmen Pallarés talks about deliberate randomness.

Thus, Pin’s works, are objects as real as reality itself. Mimesis is overcome, not by the way of giving it up but moving it beyond its limits: what the artist questions and imitates is no longer a given real object but the own natural processes by which something comes to constitute a space-temporary object. That which is the subject of painting is not previous to the process in which it is self-constituted as an object and, in that sense; the artist does not predetermine its meaning. The intention in chance is, on the one hand, the intention of respecting the passage of randomness in time and, in the other, the tension that the object itself states in its relationship with the artist when it demands to be made. Pin gives to the object its receptivity and its elaborate technique for the genesis of the object to take place.

José Luis Rodríguez
Philosopher