"La vie est l'art et l'art est la vie..."
The choice of the images that we choose to display in public spaces are closely linked to the perception we want others to have of us.
That perception changes during your life as you change yourself, demanding or wanting different things of you and for you, not exactly better or worse, but new ways, new choices.
In my view, I am mostly certain that life turns out to be - the work of art - where it encompasses aesthetics and the divine and where, the (true) artist is quite simply a medium that has the ability to express this idea in the most varied ways. I would say that his works (be they paintings, music, dances, actions, theaters, poems, etc.) are, in the end, residues of a greater performance which push the viewer to confront this relationship between worlds!
The coherence between the spoken speech and the actions turns out to be a fundamental factor in this performance, and it is up to the medium not only to reveal the fundamental values for life in harmony on this planet, but also to try to live the most in accordance with them, therefore setting an example through his actions, rather than his speeches.
We will always be an integral part of a whole, not the whole, and the prints, the marks that you leave behind are just a part of you, but they aren't "you" and they aren't definitively "the" art!
Welcome.
ABOUT WORK
The author is a modern figure, a product of our society in so far as, emerging from the Middle Ages with English empiricism, French rationalism and the personal faith of the Reformation, it discovered the prestige of the individual, of, as it is more nobly put, the “human person.”
Barthes, R.,1968, Death of the Author
"The whole life of those societies in which modern conditions of production prevail presents itself as an immense accumulation of spectacles. All that once was directly lived has become mere representation."
Debord, G., 1967, The Society Spectacle
At first, I still believed that art had a social obligation and commitment, based on certain modern movements, which led me to make a lot of critical works in their relation to the society and its constant "spectacle", regardless of having full awareness that Art itself is only one more of these "spectacles", and hence, the constant criticism of contemporary art itself.
In the course of my research I'm increasingly approaching to what I believe to be the essence of painting and art, based on the capture of nature, in a personal way, and based on nature, life and the world as a form of supreme art. This return to an impressionist project brings me back to a reflection on the values and morals of art, and more importantly, a pretentious aesthetic search, based on landscape and pictorial plasticity.