"The stain as the only element generator of structures is winning over the intention of the landscape. It begins to have an independent language and I believe this is gaining importance. The stain appears as a plastic problem along with the color and its pictorial behavior in terms of the form, the transparency and some texture. They are the only protagonists; they use their own force to reaffirm their autonomy... My work now consists of composing with those elements." (Notebook. Caracas, February 6th 2006.)
In everything human beings make there is a process in which several elements interact. This constitutes an unreachable all. These elements are constantly nourishing the perception and the experience in order to make of the work of an individual, or group of individuals, a true synthesis of the events that surround and constitute them. This way, all process of creation implies to be exposed to these circumstances and to be open to the fact that our results are also the result of those concurrences. In painting, like in any other experience that is thought and worked plastically, these considerations cause determining consequences.
Painting usually handles a particular behavior that leads us to think on its inner self, especially when we allow ourselves to practice it constantly. Thus this becomes a route to understand painting like a process and also manage to understand things through it and, actually, think from it. This way, what can be considered as artwork is no more than the remainder of that way to justify ourselves before that reality. When this position is assumed, painting becomes a development that originates multiple possibilities related among them, with us and yet with what surrounds us. One must be working on it at all times in order to give sensible considerations to all the viable alternatives that can come up.
In relation with the processes of painting, a series of fabrics plagued of stains that come from splashed colors have appeared. They lead to reflect on the plastic possibilities that can be found in two precise situations, which constitute the process of this discipline and the pictorial fact itself.
The first situation is related to the procedures followed to transform the materials used to paint: The mixture of a pigment with an agglutinant. I have decided to rely on this process of material conversion to generate visual situations. This becomes patent in my last works, and proposes images that try to make think about painting like a process. This is derived from the observation of the trowel. The trowel contains part of the essence of this discipline. This surface is in constant transformation and registers the chromatic possibilities that lead to the creation of either one or several pictures. Starting from this premise, I prepare the acrylic and the oil directly on the fabric; I act on the flat surface as if it was the trowel, the mortar or any other surface appropriate to prepare and to mix colors.
The second situation aims at the finding of a consonance between some spatial elements. The challenge resides in finding harmony for colors, forms, texture, transparency, superposition, repetition and accumulation, using several possibilities of the stain as an independent tool to arrange a visual event.
Harmony appears like an entity that gives life to the appearance of what we contemplate. It is a situation that usually appears in limitless ways, but once visualized, suggests an order where the elements are related to the whole. This can be perceived in any plastic fact, from the composition with formal elements and materials, in the passage that goes from the absolute analogies to the most extreme antagonisms. Harmony occurs when one accepts the unquestionable relations between certain elements. The colors, for example, achieve harmony thanks to the light that activates them. Being visual phenomena, the tones and values tend to be automatically related to the ones that are next to them in order to establish a dialogue. The color tends to harmonize by itself; rejoicing consists of synchronizing itself with its language and transforming it into painting. In this work harmony possibilities appear from the chromatic nature of the materials used to paint, through the risky mixture of different shades on a surface.
Limiting me to experiment with this primary behavior seems to be the present reason for this work. Based on the autonomy of these stains, I try to generate visual situations where the essential components of the painting and the derived consequences of its physical nature can interact. The result is always unexpected. At this point I think about stopping and consider the artwork as concluded, although I recognize that I can often return to it maintaining the same position and whatever I do it becomes richer. This way, the artwork becomes an open process with many possibilities of transformation. Thus the boldest harmonies seem to occur. The color by itself becomes form, texture, matter and allegory. Allegory to the painting itself, and to human need to paint and to find a visual order in the handling of the elements that are arranged.
I try to benefit from the visual properties contained there: repetition, accumulation and superposition of the only essential element. I also try to benefit from the different qualities that are generated when I put successive stains of different colors without worrying too much about what is happening in the work. But I do not dare to forget that the intention to compose formally continues guiding me. Doing it this way, the harmonies of the color, form and texture could be riskier as it happens to some events of the landscape I have been observing.
"The sunset makes think about the presence of the sun beyond the sea, decreeing the day in other latitudes. The light of the sun determines the aspect of the landscape... The sunsets in Lecherías * are magicians, the light that languishes gives a new life to everything it bathes, the sunset is a state, is an extravagance of the nature. It is a shame that it is so ephemeral. Moments like the sunset should be longer during the day, at least a couple of more hours. The sunset really captivates me; this state of transformation of the landscape moves me. At night only I like silence... " ( Notebook. Lecerías, December 22nd 2005.)
In a second instance, this work shows an allegory that has been evolving from previous exercises referred to the landscape. Beach landscape. Observing some natural events that occur there and in agreement with the process of the painting, I have reached the following conclusions:
The stain is a natural phenomenon and an element of plastic expression able to speak by itself, beyond which the artist tries to raise. It is directly related to the texture, the form, the color and the transparency that can express the gesture, the blasting, the splashing, etc. It can be considered as the spatial stagnation of these causes. On the other hand, it has the property to evoke typical situations of the surroundings of the nature, an example of it are the images the water leaves when it makes contact with any surface, those we observe on the clouds in the sky and in the shades they project on the sea, the stain of the sap, albumen or any other fluid. It can be considered like the first resolution that nature grants to the form. It could have been the detonating that pushed the human beings to transform the materials with a plastic sense.
The stain is an element opened to any possibility of transformation; symbolic, conceptual or visual. It activates situations that alert people, occupy their thought and generate realities.
Now I reflect on the landscape in an ampler sense, I attempt to understand it and to make people understand it like a live activity, exposed to multiple manifolds and constants changes. Perhaps the stain that is congealed in the painting when I apply the diluted and thick layers of color can transmit, in one way or the other, the essence of those events of the landscape. But at the end, we cannot avoid assuming that a stain is no more than that: a stain.
"The painting speaks by itself, it is alive, beyond what could be wanted to say through it, it communicates in silence and it is always unsatisfied with what it says. To understand it is to dissipate, to enter its time and to turn it into memory, it is to know that we can stop a moment and then prolong it. The painting serves to touch the time. That is why the painter is there, to make that time reveals itself and begins to say things." (Notebook. Caracas, June 2005.)
* Lecherías: Area located between the” bay of pozuelos” and “ playa mansa”, limit of the Mochima National Park, in the coasts of the Caribbean Sea. State of Anzoátegui, Venezuela.
Emilio J. Narciso. Agosto de 2006.