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Untitled No 36 (2024)
About I-T(f) and the Empty Image:
The collection of paintings called I-T(f) is based on the production of a Time Imagen built though the grey backgrounds that holds the social landscape movement and evolution. How does that translate into a painting? Each work uses these ideas to be able to produce an updated and updatable knowledge in the viewer. So, in the next paragraphs we will be exploring how a static painting is able to create an updatable image.
How does the Empty Image works?
If we understand that each and every painting may be included in the second group of the “Human”, as something produced by the artist, but at the same time, this same painting is able to make the artistic experience something real, we can tell that this object is able to communicate, in a different and bigger dimension than a book would, since it creates a track to the bigger landscape and its part of it at the same time, providing the viewer with an updatable field to reach for knowledge. This approach is key to build an artistic experience founded in the viewer. So now, we have to explain how all of this might be reached through the pictorial language.
To be able to produce the knowledge based in those terms, each painting works as a device to reorganize the image sequences that we all use to build our own Atlas Mnemosyne, a book that catches all the images that we have access to while going through life, images that everyone gets from walking though the adding contexts, focusing this approach from anthropologic and linguistic ones. So, the painting must work as a reacher and exhibiter of those contexts, being able to lead the way and being the board where the viewer can project and enhance the knowledge from its own experience.
To fulfill this task, every painting has to enable a double take, in one hand it has to let the viewer access the social landscape though deduction and in the other hand it must let them come back to the painting and project over whatever is found from the reorganization of those image sequences, so, to make this double way street, the elements that are contained between the frame of the picture must act as roads to the viewer, balancing the outlings and come backs in a clear way.
So, how everything is built into place?
All the paintings works as a wall that has been exposed to the updated landscape and its ready to assume new ones, where it absorbed all the wear from the environment and people who interacts with it, so, instead of making a surface that tries to mock those places, each painting is built from the ambiguity, presenting an image that reminds the viewer that those places are the primal exhibitor for all the social and physical updates of the environment.
Over this surface is where the journey begins, some lines are displaced to form the pathings that let the viewer go outside the painting, the silver and cooper are mostly used to make the roads to access this space, but then, the painting must provide a way to let them come back, so, through black lines and grey surfaces displayed in the image, the viewer can make this trip back to the painting, fulfilling the journey to rearrange its own image sequences.
Mixing composition, materials and those ambiguous surfaces that are used to make this collection of paintings is what allows the painting to become an image that works as a device, founded in an empty space, where nothing is given, letting the viewer be the one who proposes and completes the updated knowledge.
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