In art, nature is introduced through the materials that make it possible. That’s why what interests me is not the pictorial matter but the matter itself, as an element.
Taking consideration of the symbology of the used materials, the condition they have and it’s colouration, I share the opinion of Anish Kapoor and Yves Klein when they state that the powdered colour represents the spirit. Colour, being powder, does not have shape as it is not a solid material.
As the pigment itself, powder simbolize the trascendental and the absolute. Saturated and pure colours reinforce the message of the spirit that it’s also transmitted due to the capital simplicity of the shape. The presence of the “monocromic icon” in modern abstaction implies an acknowledgment of the colour.
The lines traced with purity, smooth surfaces and other elements alike, fullfit because of their simplicity. But pure colors have the same effect, simple and not mixed, valuing the simplicity and purity of the sensible material.
The voids and holes appearing in some pieces enclose the “spot” inside themselves. They are secret emptiness, hidden mysteries that the observer may contemplate but not penetrate. Something that is close to fear, understood in ediptic terms, and even more with darkness. There is nothing as dark as the inner darkness. The inner place is an individual sanctuary, a mind/body spot.
Another element that I consider of huge importance in my works is silence, the inner silence, an intimate silence, that could be the silence we feel as we plunge into the bottom of the sea or the silence felt by an astronaut above in the space. This is the silence related with the “futility of the artwork”. My work is filled with silence, allusions, latency, hidden feelings.
One of my purposes related to the perception of the artwork related to the spectator is that the mind stays enough time still so it can think in the reason why this space as been created. The piece has to hold the eye and the mind. The observer has to get hooked with the restlessness of a presence, with the restlessness of the “unknown”. The spectator has to go from the narcissist conscience into the sublime unconsciousness.
The contemplation of a very simple object force to think about it, about the object itself, about oneself’s body. Mind is projected in the shape, and the shape is able to project itself into oneself. That’s the moment when you realize yourself, your thoughts and your solitude. It is like a mirror reflecting our spirit and our interior.
Sometimes images are trasmited to the brain with so much beauty or sublimity that trascend words. In this moments we may experiment a state of ecstasy, often fleeting, often prolonged, when the self mute. Those moments are touchstones to our sense of connection with the world.
For Jacques Derrida “Is sublime what it’s immediately liked by its opposition (Winderstund) to the interest of the senses. Sublime is never the same to itself, it is never in the same place, it is always irregular and excessive. Compared to the sublime we are absolutely insignificant, we stand paralyzed while the Earth rotates”.
The space of painting is the state of illusion. My work is located inbetween painting and sculpture. It is not intended to create an illusory space. What it is is what appears.
Nowadays I’m trying to transform my work, giving it a new image from both a conceptual and an aesthetic point of view.
I decided to introduce some human presence in some of my compositions in order to “populate” them: a lonely observer or an object will alerts us of its presence inside the artwork. The small scale in which they are represented will oversize this ubiquity.
This “little observer” gazes its surroundings within an absolute loneliness, interacting in this way with the wild nature. Sometimes he could feel sublimated by it and sometimes the observer will fight against it in order not to let the elements power to vanquish him. In some cases he will appear as a passive observer whilst in some specific circumstances he will become a victim of the surrounding nature. In some other cases we will only appreciate the footprints that our little adventurer left on the painting, which will let us speculate about his avatar and his fate.
This tiny human presence will be almost invisible to the eyes of the real observer that will observe the painting from a certain distance. In this way, he will act as a good which observes its creation from above; the “little observer” will turn, without noticing, into an “observed observer”.