CAMPO POLICRÓNICO2000
FROM THE FREEDOM TO A NEW REALITY

For a long time it has been interesting to me specially how facing the fact of paint and the painting from the most possible free inner attitude. Considering, among others, several aspects; that we lived in a society inclined to regulate and structurate the form of live and think, that the absolute freedom does not exist, (in any case we have the possibility of developing it), and that the intention of freedom does not serve to protect an inexplicable language by its disconnection with the reality.

Thus, my work starts from the reality, being inspired by the visual reality that supposes the vital experience of the city, with a special fixation and interest in the wall and its graffittis, by the freedom and espontaneously of these expressions and by its connection with the " popular "; interesting to me more in its idea, visual concept and attitude that declare, that by the formal expression of what they represent.

Before continuing I am going to talk about my previous work, because it keeps an important relation to understand my new work.

In the work of the last years, this search of freedom came through the destruction; the work was developed from destroying the created thing, using a sandpaper machine that it manipulated the pictoric surface and it recreated a new one totally different. It was an attitude of correction, rectification of the immediately made; a negation that took to an affirmation with the intention to create a new reality, that found its space of affirmation in a matter or rather anti-matter result, because the result was an emptiness texture. That is to say, when extracting the painting refused the matter, but it was affirmed in the inverse thing through his own negation. This process culminated with the series " Correction ".

The process to face the paint through the machine, was fundamental because it allowed me to take distance with the painting, to paint without control as for me; therefore, as if I painted from outside, without the agreement of the presumably pictoric thing. That impossibility of control simultaneously took to that the work revealed from its own condition and nature, doing present of inevitable way the chance as a fundamental aspect of the work; that is to say, without a pre-established control a freedom state could occur.

Painting with the machine was important while the result of its use did not question the paint and this maintained its own freedom; but in the end became an impediment, because the way to work became excessively necessary, which, in the end, got to limit to the own painting by the dependency of this one to the process. It is then when I consider to finalize the Correction series.

From then, rejected the machine, I understand that the only form to face the painting from freedom, without a control on the work and allowing that takes place the wished state of chance-freedom, is the automatically spontaneous.

The departure point of this work in that I am working is the reality, (I consider that my work is more " realist " than expresionist, because is not born from an inner impulse or idea , but of an outer experience), and in particular, the city that is pronounced in its walls of graffittis, that reflect the vital pulse of the society in the large city. I have always tried with the painting to be able to express myself and to communicate myself; it is why I have chosen as the graffittis excuse to raise my pictorial work, being that a common and a popular expression that it manifest in a real form in the cotidianity of the city.

From the visual experience of this vital reality, in the act of paint, I face the work from the automatically spontaneous; thus, a script of work of the painting does not exist, the process to paint is direct and fast. It is as if one took place at the moment in which I paint a canalization of the visual reality of the lived thing towards the canvas; the aim is to transform that reality into painting.

Facing me thus the fact to paint allows me to work from a freedom state that positions me to keep the necessary distance with the painting or with the pictorial thing in order that, at the moment in which I paint, the painting becomes present without pictoricism, strategic, formal or rational agreements; that is to say, like painting remote of the canvas with the objectivity necessary to avoid that a subjective idea of the painting implies to me, conditioning to me. The aim is the painting, but marking the necessary distance to the " I " painter.

I have titled this series, " Campo policrónico " *. Campo, besides to have the space sense, in this case also has to do with a certain space where present everything becomes a visual world, having relation, among other things, with the optician and the virtual thing. Policrónico is a word that it has to do with the manifold and variable and, simultaneously, with time (crono) and with the graph and the writing (chronic).

I understand my paintings like fields; spaces in which they reveal multiple visual energies, elements, concepts, actions, voltages, dictions and signs, in a synchronize way, expressing each one their unic pictorial idea, but, at the same time, forming with the others an all harmonious one.

Barcelona, Fall of 2000

* Campo: a possible translation will be FIELD