THE ARCHITECT'S EYE by Miguel Blanes (1961 – Alcoy/Spain)
How does an architect end up dedicating himself
to painting? A journalist asked me, in an interview, last year 2023. I answered
that, for me, painting is an artistic liberation, it is a cry and it is a
protest, it is a cry of pleasure and also of pain, which aims break the bubble
of an increasingly hyperregulated and corseted society.
The eye, the eyes, the half-eyes, eyes that see
everything, eyes that hear everything, eyes that touch everything, witnesses of
everything we do, sometimes they are our own and sometimes others'... The
Architect's Eye is my particular vision of contemporary society through
painting, where geometry, perhaps due to professional deformation, is a
fundamental part. Sometimes they are basic geometric figures that are twinned,
intertwined and superimposed, creating a complex system of layers and levels
that encourage and allow the planes of the painting to interact with each other
with different depths, in such a way that the parts and the whole, and the
whole and the parts, come to complete a single whole. On other occasions, it is
the infinite spirals that intertwine, as if it were an endless thread, and they
are responsible for generating the flows and dialogues within the figures and
parts of the work itself... and that is when, with rotundity, without fear or
consideration, color appears intuitively; Mexican colors, sometimes applied
harmoniously and other times stridently, to establish dissonances and tensions.
My support, by decision and by my own vocation, can not be other than paper, “Blank Paper”, as an essential material
of my artistic and professional existence, and my only artistic creed, without
a doubt, is: ART FOR ART'S SAKE!
I paint in a self-taught and intuitive way,
without fears or restrictions other than my own, with the baggage of a lifetime
pursuing Art wherever I went. I admire and adore Vassily Kandinsky, Joan Miró,
Antoni Tàpies, Giorgio de Chirico, Le Corbusier, Mies van der Rohe and many
other great masters. At the presentation of my first solo exhibition, Manolo
Solbes Arjona told me ironically, that I had fallen into the arms of POP ART,
and I answered him, paraphrasing the last scene of Some Like It Hot by the brilliant Billy Wilder: “No one is perfect… ”
Miguel B.
