Content of Work

My investigation develops from pictorial abstraction as a historical model, putting today’s painting’s own practical themes into question: centering myself specifically on color, stain and matter. This is programmatically reflected in an insistence on using painting in a traditional mode: oil on canvas in an even way and restocking the idea of gesture – stain and matter as a systematic operation – from that matrix I restock meanings and concepts inherited from modernity into the visual. Generating form this point on displacements towards different supports and systems other than those of traditional painting, those being: serialized production with materials like pigmented wax and resins, the inclusion of text, and the use of photography and industrial decorative color charts. The investigation of these non-easel painting productive systems, enter the work broadening the chromatic studying possibilities creating a dynamic platform which allows me to cross diverse languages. Focusing myself on color, I take the industrial decorative paint chart, making a direct reference to a color exercise translated to traditional pictorial systems. I in this way reproduce a matrix used in decorating, and translate it to the plastic language remarking and re signifying this operation with the use of each color’s name. The chart works like a bridge between non figurative painting and the surroundings, approaching themes like subjectivity in the appreciation of color in relation to the designation of their names, for example, taking color samples from house facades and reproducing them in painting, searching for their parallel in the chart and assigning them the fantasy name determined by the industry. In other cases reproducing the complete chart (860 tones) on oil in plain form. Within this process enters photography, taking a course on different locations, to gather photographical takes, which have as a main objective to extract a variety of colors coming, for example from the white of the clouds or snow, blues from the sea or clouded skies, leaves, flowers, forests, etc. this site specific work is conducted registering a color of the landscape (extract) as a sample taking, equaling it to its parallel in the industrial chart each landscape – reality fragment is denominated from the industrial register (sassy blue, effervescence, blue sky, etc.) with names which are included in the take with transparent epoxy resin letters, making a pictorial look (the landscape, the framing) dialogue with a photographic image and its chromatic localization. In the more recent works these productive systems find their course in noting the possibility of performing a close up on landscape – as model of representation – from a visual abstraction. Risking, a fundamental subject which is in relation to the relativity in the apprehension, perception and translation of color.