Here and now is a fact.

But in the brew I am trying to represent a type of Cuadriloscopios, a word that I have invented, and put “Caligrafía de las Figuras” into context. It was years ago that “Cuadriloscopio” had its moment of manifestos and exhibitions, experiments with chromatic aberration and color blindness.

Caligrafía de las Figuras

Manifiesto

Mixed Media on canvas 200cmx190cm

Here and now is a fact.

But in the brew I am trying to represent a type of Cuadriloscopios, a word that I have invented, and put “Caligrafía de las Figuras” into context. It was years ago that “Cuadriloscopio” had its moment of manifestos and exhibitions, experiments with chromatic aberration and color blindness.


Far from getting dizzy again, I focus my attention on being water that runs and disperses in some sea, saving time, intensity and money, my own and public, to consider that the paint strokes move on alone. They are themes about religious beliefs and thoughts that define a piece for it to exist and for others to disappear. And that which is, is only for a time.


Things happen. I invest time in the contemplation of masterpieces and at the same time I write automatically “La vida de otro”, an intent that seems more like a photo reel that has been made using an automatic shutter, selecting one of thousands of images captured by the camera. A brushstroke is a Foucault pendulum which traces lines in a space of time over a surface.


Sometimes ink has to be refilled to leave the arm to move with total liberty. And sometimes in this slow process I decide that I find a symbol or figure. Just at this moment the pendulum concentrates on the surface continuing to draw, scratch and lick it, focusing on what the figure wants to be but still does not know it.


It would be easier if I were to show with shadow play the necessity to express ourselves that we have. How a handprint left on a cave wall has evolved like magic imagery, a form of barter developed from brands indicating ownership, through Hieroglyphics, complicated ideograms into conventional handwriting.


In this Cuadriloscopios series “Caligrafía de las Figuras” I am showing larges canvases and monotypes of the process which has led to each piece being what it is, whatever it is. Rather than diffuse subject shown by an iconoclast, something already resolved by more qualified minds, the “Caligrafía de las Figuras” is an option and wants to be shown on its own, without references or decoration.