My work is an ongoing investigation about the spatial phenomenon in painting. It's about how can we explore spaces that... Read More
My work is an ongoing investigation about the spatial phenomenon in painting. It's about how can we explore spaces that function in non-hegemonic conditions and that are simultaneously physical and mental in painting. It is based on Michel Foucault's concept of heterotopia. It has to do with spaces that have more layers of meaning and more relationships to other spaces than immediately meet the eye.
It is known that the spatial relations in humans develop on two levels: the perceptual level, that gives us the "sense" of space, and the intelectual level, that gives us the "idea" of space. The first is a product of haptic development and the later is a development of symbolic activity through speech and image. I'm interested in the potential of this fundamental association between the image and the imagination, the invisible contemplated within the visible that is claimed to underpin contemporary understanding of the nature of images.
The questions I've been working on are:
How can abstraction open up a mental field all of its own by reorganizing visual and psychological experience? How can a type of painting offer an immersive experience to the viewer?What does pictorial spatiality consists of?What is the pictorial space expressing?
The painting Lotus Flower VII is part of a series that I started a few years ago entitled Lotus Flowers. I entitled this series "Lotus Flower” as an homage to the Japanese writer Yukio Mishima.
“By means of microscopic observation and astronomical projection the lotus flower can become the foundation for an entire theory of the universe and an agent whereby we may perceive Truth.”
And also for the symbolic connotations of the concept and its connections to both Egyptian and Greek cultures, to Christianity, Buddhism and Hinduism beliefs in spiritual rebirth. I painted the first artwork of this series listening to Radiohead’s homonymous song.