© 2019 por Ik Projects.

 Av. Mariscal La Mar 1265, Miraflores.

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STATEMENT

My paintings reaffirm my aspiration to represent optical sensations determined not only by natural atmospheric conditions such as light and temperature as if they were rendered by a photographic film, but more precisely by the blinding effect of reality. Like the photographic flashes or artificial lights that obstruct our eyesight, and cause a visual confrontation that impedes our gaze, the effect produced by these works dissipates and distances our perception from the singularity of their mode of production.

Driven by a visual stimulus, this movement relates to the questions that Denis Diderot posed in “A Letter about the blind” (1749) where he insisted on blind people’s visions upon being affected by sensations related to the air and their fingers, and to light and touch, creating other forms of knowing and learning about objects. If our vision is blocked, then our hand reaches out and projects the forms and textures in our minds. Even if our fingers don’t touch those objects, they can be recognized from their minimal fragmented and abstracted shapes, as well as from their fully enlarged and figurative view.

The paintings in the exhibition combine textures, surfaces and coloures to produce sensations that images and figures on their own would never reach. As a strategy they des-attached themselves technically and figuratively; that is to say, first, they deny the presence -the touch- of a specific author, instead they favor for the behavior of an abundant amount of paint constrained by a feeble representation. And secondly, they affirm Abstraction by the sensual amplification of images that try hard not to be founded or not to be represented.

It is claimed that around 1833 Hercules Florence (the french genre painter that travelled to Brazil with the Langsdorff Expedition) invented a photographic system to print and make widely available another more important system of representation, his “Zoophonies” -a kind of score or musical notation that represents the sounds of the Amazon wildlife.
As well as the silent scores of Florence, the works in this exhibition also intend to replicate messages that are not visible, inaudible howls in time. Messages that say that they have nothing to say.

BIOGRAPHY

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