TEKS Since 2001 I work taking photographs of models, constructed scenaries. In my project, the text refers to a diffused reality, a bordering territory between reality and fiction. An eccentric territory inside and outside pictorial matter, photographic and infographic, a proposal of an area of the phantasmatic representation, close to cinema. The experimental investigation of photography " like a prosthesis to increase the power of our eyes, in a process of acceleration that suppresses our knowledge of distancies and dimensions." (Paul Virilio) The main strategy is to imitate on scale the geological processes of nature: erosion, disintegration, sedimentation etc. It offers a game of tricks that we accept bearing in mind we usually rely on the photographic media as it was a true evidence of the surroundings.
My work with the video began in the year 2005. from September 2005 to June of 2006 I make 5 pieces of 15 minutes. In August-October of 2006 I have edited 15 pieces of short duration (2 to 3 minutes),The video allows to work with the own immediacy of the reality like graphical material, and simultaneously it requires an artisan work of assembly that allows to translate that reality immediate to multiple filmic languages, in that the drift to the fiction, to deconstruction and the reconstruction of the reality ,melts with the documentary , the essay, or the metamorphosis of the image and the sound. I am interested in that capacity of metamorphosis of the filmic image. A constant possibility of manipulation that always maintains an suturated , organic,appearance very next to the oniric world and the imaginary.
this small sample of my paintings, it as much summarizes my pictorial interest by the realism, the abstraction, as well as by my interest in a perceptive game that leaves the interpretation of the painting open to the spectators. the MATER serie is simultaneously figurative and abstract. The iconism of the painting - it is to say its effect of objectivity- depends on coincident techniques with a maximum of abstraction, and vice versa, the abstraction can use completely iconic referring techniques and, for example, referring the iconic one that I have used to compose these paintings, they are fragments of previous pictures, ( the iconic reference is the own painting of another picture.) and herselve, based on fragments of previous pictures, that herselve .....this process goes back in this way until an picture-origin that was the painting of a leaf of fern painted in live.
In 1991 I make hundreds of paintings with a technique called decalcomany . It was used by the surrealists and in special developed by Max Ernst. This technique was perfect for the programmatic lines designed by the surrealism, since it allows to obtain iconic images, very defined and organic without a total intervention of the mind of the artist , of its reasoning. It would be a kind of automatic painting which bring images of our subconscious part directly, of a part of our mind resdy to create from an amalgam of memories, images.
First approach to the istalation and the use of not pictoric or ohotographic elements .the light as space configurator. Expositive space is the main character of the work. Ultraviolet light and cotton thread transforms the space in a 3D RENDER. it is`nt a work that you are seeing. is a work inside you are
Primeros pasos en la pintura china siguiendo los pasos del maestro Zhu Yanmo en un estilo neo-Fu Baoshi.