This pictorial work arose from the need staff of creating certain visual reflections in a attempt to rebuild scenarios about a episode of... Read More
This pictorial work arose from the need staff of creating certain visual reflections in a attempt to rebuild scenarios about a episode of the life of Jesus narrated in the New Testament by the evangelist Matthew (MT 4 1 11 by Mark (Mark 1 12 13 and by Luke Lk 4 1 13 in the that he went into the wilderness, to be tempted by the devil, being 40 days and 40 nights More than 10 years ago I had the opportunity to a photographic study of the Cathedral of Popayán, with which I made certain compositions or fractals, in which that an image is duplicated and a new one is created stage said works on wooden support were exhibited at the Casa Mosquera Museum in the white city then became stored in my study for these years Half a year before the pandemic while watching the problems of the world, from the local, with so many social inequalities and the interest only economic but not spiritual of being human to come to an end justifies the means, I wanted investigate everything that is tricky in the figure human, expressed in its power of seduction, of suggestion of intimidation from a scope frozen and distant from an architecture without memory universe that demanded another type of expression technique and aesthetics, grap hic scenarios, supported from the mixed technique, with acrylic resins, powder of wood, painting, drawing, from the elementary, spontaneous staining in some cases, where Figures come into view, like promisers who pass through those deserts plagued by so much loneliness . In this visual journey, a reflection is made, both dreamlike and spontaneous, existential obsessions used as a narrative to configure recurring scenarios, in their orange tones that contrast with the backdrops, real or imagined spaces based on visions of multimedia churches where every day the screens explode screaming fears, generating almost meaningless labyrinthine spaces There a personal journey is made where the central character gravitates, unfolds, walks, runs, until at times he finds himself with optical illusions making clear references to the unconscious, perceptions that break with a logical sequence of linear time, why not opening infinite possibilities for the understanding of this work Sequences where the Marías themselves do not find their prophet, the temptations of the flesh, the adulation of power, the indifference to the pain of the fallen, the shepherds on screen, the separatism that they cause , the weight that a few or many carry on their shoulders and finally that savior who was lost in his elevation by so many invisible curtains. But every nightmare brings even a moment of calm as a reward and it is here, as in childhood, that color is once again a game, a primary enjoyment that tries to recreate the unpredictability of the human condition that ends up becoming one, with the face that is both mask and mirror.
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