Gerona, Spain
"I could define my work like filming a horror movie using relaxing pastel tones in order to achieve, thus, the "scares" more effective.
The starting point, the motivation to make the first draft of each work, comes mainly from the need to transmit a disturbing message, subtly disturbing, if possible. For this reason, I seek ways to give clues that refer to the darkest part of consciousness, which CG Jung called "the shadow archetype", understanding this concept as the part refers to the intestines, sex, animal part, pre-human, that part considered amoral, beyond the good and evil.
The female figure is central in my paintings, but it is a thin, ethereal woman, away from carnality. In medieval Christian iconography, maybe to represent the Christian resignation and partly due to the technical difficulty, it is not easy to recognize the pain in the faces of the martyrs, when they are being subjected to terrible tortures. That gives them a melancholy aspect, that is unusual, but also attractive. The women of my paintings come from that Christian imagery, and undergo uncomfortable situations with a smile at first sight incomprehensible. On the other hand, her nakedness, like a crucifixion scene, accompanied by other clothed characters, is more obvious and striking.
And just as the white does not exist without the black, at the other end of this binomial, there are the male figure (sometimes represented by another woman), a figure related to thanatos, earthly, dark, vicious and dangerous beings, though always lose the battle, as they have no power against this feminine melancholy.
My scenes almost always occur in front of a house, a house with large windows, where someone might be watching, without anyone seeing him. Present in the collective unconscious from "The Fall of the House of Usher" by Edgar Allan Poe or from "Psycho" by Alfred Hitchcock, the house on the hill becomes a third character, a silent witness of the scene, a veiled threat , an even a greater danger if we consider that characters turn their backs on the house.
I seek not only the contrast between appearance and intentions of the characters, but I also try to communicate the visual strength, in formal terms, for example with the use of complementary colors or with the use of the contrast between vertical and horizontal lines in painting. Characters standing on a flat landscape, convey emotional intensity and even some sadness.
In short, I think the energy that emerges from the vision of any image, what could be called "visual power", is closely linked to the use of the dialectic of opposites. The stronger the contrast, the stronger the energy released. Planning the use of opposites provides greater visual impact, that makes it more attractive and also makes the final reading of the work easier." XSS
The female figure is central in my paintings, but it is a thin, ethereal woman, away from carnality. In medieval Christian iconography, maybe to represent the Christian resignation and partly due to the technical difficulty, it is not easy to recognize the pain in the faces of the martyrs, when they are being subjected to terrible tortures. That gives them a melancholy aspect, that is unusual, but also attractive. The women of my paintings come from that Christian imagery, and undergo uncomfortable situations with a smile at first sight incomprehensible. On the other hand, her nakedness, like a crucifixion scene, accompanied by other clothed characters, is more obvious and striking.
And just as the white does not exist without the black, at the other end of this binomial, there are the male figure (sometimes represented by another woman), a figure related to thanatos, earthly, dark, vicious and dangerous beings, though always lose the battle, as they have no power against this feminine melancholy.
My scenes almost always occur in front of a house, a house with large windows, where someone might be watching, without anyone seeing him. Present in the collective unconscious from "The Fall of the House of Usher" by Edgar Allan Poe or from "Psycho" by Alfred Hitchcock, the house on the hill becomes a third character, a silent witness of the scene, a veiled threat , an even a greater danger if we consider that characters turn their backs on the house.
I seek not only the contrast between appearance and intentions of the characters, but I also try to communicate the visual strength, in formal terms, for example with the use of complementary colors or with the use of the contrast between vertical and horizontal lines in painting. Characters standing on a flat landscape, convey emotional intensity and even some sadness.
In short, I think the energy that emerges from the vision of any image, what could be called "visual power", is closely linked to the use of the dialectic of opposites. The stronger the contrast, the stronger the energy released. Planning the use of opposites provides greater visual impact, that makes it more attractive and also makes the final reading of the work easier." XSS
No hay comentarios:
Publicar un comentario