Between the margins # 2023

Between the margins # 2023 Between the margins # 2023 Between the margins # 2023 Between the margins # 2023 My painting, veiling, reveals. In his evolution, he has been finding a different way of reasoning based on decisive referents and elusive concepts of a tangible presence. Each one of the temporary sequences, with a high narrative and symbolic content, has gradually strengthened its commitment to a certain type of writing where the succession of images finds a red thread in time. A kind of embodied thought whose intention is to awaken consciousness by favoring sensory and emotional encounters with the world to which we belong, with its beauty and its conflict. A double plot that, over the years, stands out as an immense reversible network from the sensible.

The iconic, plastic and conceptual characteristics are the change of scale, the out of focus and field and the various compositional tensions; the superimpositions of contours and shapes; the free use of light, color or stain; the simultaneous double vision: figurative and abstract; the stylistic diversity in the content of each project; the multiple readings and textual references, and the reinterpretation of classic genres such as portraiture or landscape. Speaking of genres, but in another sense, also the rereading of the painting itself outside the perspective of the masculine tradition.

My painting continues to evolve from time to time as a constant movement of closeness and distance with itself and, beyond its margins, in the intimate relationship with other gazes. I can therefore I am, I rebel therefore we are. Two quotes joined in one sentence, by Simon Weil and Albert Camus respectively, reveal the meaning of these nameless faces of human dignity. The first 13 portraits of this series in progress appeared at the end of the exhibition Seres out of field, as an unfinished conclusion and open to a new beginning. My painting keeps advancing by taking up previous works. In this specific case, based on Hannah Arendt and her unique concept of the conscious pariah, he dares to review, by way of quotation or writing in the margin, the meaning of the 48 Illustrious Portraits of the German painter Gerhard Richter, also the object of study in Your day. The quote intends to awaken this work from its ideological and historical lethargy and to replace certain absences in a critical key, to show that other knowledge, displaced because it is uncomfortable, which unfortunately has not left its mark in encyclopedias and which, nevertheless, exists. My painting, watching over , reveals. In his evolution he has been finding a different way of reasoning based on decisive referents and elusive concepts of a tangible presence. My painting, watching over, reveals. In his evolution he has been finding a different way of reasoning based on decisive referents and elusive concepts of a tangible presence. My painting, watching over, reveals. In his evolution, he has been finding a different way of reasoning based on decisive referents and elusive concepts of a tangible presence.

between the margins