Discourse on Method
Manifesto to anarchy in order
“Art is emotion everything is emotion!” (1)
In my method genesis, is emotion. This emotional state, witch has a philosophical origin in relation with the world, and with objects in particular, builds a pultion that transcends me, and moves me to art. In this relationship, I promote confrontation and assume provocation by means of the plastic work I do.
Crossing lines, appearing to obey to mathematical principles relate to planes and with color and textures. This mondianization, its one of the concepts of the "Method". But in stead of science, instinct, chance, emotion structures it. This implies the assumption of imponderability as a main concept of the creative process.
Imponderability, chance, happening everyday, in furtive encounters with materials, or in contingencies dictated by time. Time acts over the materials, changing they're color and texture, but also influence the creative act itself, by means of the inexorable.
These abandoned materials, are spread over the public space. They establish with the surrounding environment, a conflict relationship. They are already out of context but, they will suffer a bigger, radical change. They free them selves of chaos to find a new order, carrying aggressiveness, and violence.
In the assemblage, planes multiply refusing singularity. They project themselves to the spectator, they manipulate, confuse and contradict. Diagonal its the pillar of composition. The spinal cord. The go point in my struggle with symmetry searching for balance.
When I end the work I found its not finished yet. It keeps evolving, in this triangular relationship between the author, time and the spectator. The work builds a four dimension universe (space, diagonal, chance, time) creating a transcendency in this relationship.
The objects that integrate the work, been out of context, they still preserve signals that identifies its previous existence. In color, texture and shape. These signals provoque a emotion related with the ambiguity generated in the spectator. Interpretation anguish arises. Deep inside the spectator, confronts banality referred to the objects previous existence, with this present new plastic status, acquired in duchampianne recontextualization in the exhibit environment. Emerges then, the dialectic process, generating contradictive emotions. Repulse/attraction, indifference/excitement, emptiness/reflexion.
The work, assemblage, box, self-portrait, its given a title that materializes with a number. This transcends cataloguing. I wish not to influence the spectator in is analyses. As a title, alphanumerical numbering, intensifies the dialectic relationship of the spectator with the work. With no clues he questions and became involved. From this process a story gives berth, personal and unique.