“Llegar a una observación sin observador.”
Porque solo la nada es perfecta,
delante de la más inmunda,
desgarrante mano que ensucia.
Descompone lejos sus ojos de cera,
su violento pulso de calma,
respira rota, donde toca su sombra.
De mis estúpidos sentidos, sonrientes contra el retorno,
nace un inhumano diálogo,
un viaje sin fin, sin cabeza.
Tiñe el abrir aquí dicho,
para cerrar el allí mudo.
[La Danza Doble - Julio, 2018. Poema a la infraforma ]
From the beginning, the whole of my work has been involved in the investigation of abstract content from painting, a project that began with the title BONUS TRACK, whose origin started from the term Infraforma. This concept refers to the image that starts as a breakdown or fragmentation of the compounds of the presence that give perspective and reflection from the pictorial experimentation, a movement of the entity, that lives behind and for the most indefinite. This painting supports a content in full transformation, rhythms that by their nature are conceptually closed and open. Influenced by digital experimental resources and creations, I create images that allow me, in the first place, to indicate an otherness, mainly to break those existing distances and to open a path between opposing discourses of absence / presence, which are interrelated thanks to our human condition. The scenes that I represent from the superposition of processes, have as their origin the monochrome image to give rise to the retreat, to the absolute detachment of the conception of reality from which it looks. This shows to the spectator the silence, a saying that folds and tears a context within us, a projection of compositions that charge an inverted reception, a reflection that distorts with our perception of the world. The steps marked in the image, have an interest to know each part of which the Infraforma speaks. Each symptom is torn apart to add, to compose its globality and its limits of these entities, as for example the last concept treated, the circuit. On the other hand the work contains links of reformulation and expansion of the philosophical concept Pólemo of the presocratic philosopher Heraclitus, of which Daniel Chapelle in the book Nietzsche and Psychoanalysis (1993) describes it as the ability to “bring into existence and to annihilate it”. In turn, other authors who talk about the concept of Pólemo, such as Martin Heidegger in Introduction to Metaphysics (1953) articulates and challenges also the idea of “the one that divides or moves away”. In general terms, the project seeks a confrontation with the absolute vacuum determined. In the desire of the eye that looks, behind the abstract for the most abstract, to find the freedom to breathe over what does lie under oneself. With this comes a painting that is thought, breathed and internalized with a language of inverse environment.