Brief note about contemplation. 2014

In my work I fervently believed that is necessary to untie the art of the anti contemplative idea, the almost scientific and purely intellectual conception of contemporary art annoys me, to imitate the reality, seen from my eyes is to kill the art. However, I have certainly questioned myself this idea, again and again, by seeing the bad that happens in different spaces of the world, and then, I contradict myself believing in a pure contemplative art, which function is nothing more than a fiction.

Nevertheless, what would happen to the world if just one day stops, and dedicated to contemplate? Would we be the same as we are now? We would take a load off that the world drags, around, to see among us. These suppositions have relieved my anxiety problems, I believe in a absolutely romantic way, in the rescue of the past centuries, in the “no tv” garden’s afternoon, in walks to admire, in to dress imitating the nature and not the machines. I like the classical aesthetic, the ideas of Voltaire resting on heles as Louis XVI, the piano, poetry, it seems that many of them were frozen in time. All this influenced me deeply, I want to build an idea of contemplation.

I believe in the rescue of time, you can not go back to the past but you can change the spacial look of the things, and this is change the world.

In this process, the watercolor is a deeply contemplative painting technique, it’s formed by something as ephemeral and vital as water, its process deserves an observation as subtle as its own morphology, either through portraits and abstractions, no matter the face of the piece, there’s a delicate, sublime, fragile comtemplation, able to be diluted with any gaze.

However, contemplative processes do not refer strictly to the two-dimensional. Among other things the intervention of spaces, action, movement, video (current contemplation formats) has worked me to create deeper concepts even grounded in contemplative philosophy in correlation with the fluidity of the wáter, the essence behind the origins of all my artworks. It is a new stage of perceptions, mild appreciations, the rescue of yesterday’s looks, a conglomerate of deliberately produced ideas, that brings together time and aesthetics of yesteryear, the current looks with the innermost thoughts, more global, that I found around me, I see myself in my works even though they are not strictly autobiographical.

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