This apparent noise, entropy, the disorder measure, that I capture in my work seems to me at first as anti-aesthetic. However, with this first step I flee from conventional patterns that would propel me, too quickly, towards banality, with their noisy predictability.
I search for new ways of making and expressing in order to overcome messages and aesthetic banalities, and I know I can only achieve this through diving deep inside myself. I follow Eastern Techniques, that create spontaneous, ambiguous expression, like staining that philosophically is equivalent to a complete and absolute silence. I leave large empty spaces (I explain this at length in the Manifesto). With this I try to create an aesthetic scenery where certainty is not complete or dogmatic. I insinuate a path that each and every observer of the work could discover for themselves. I wish my work far away from idol forms, from extreme concepts to the limitly finished and therefore closed.
I formulate more than proposals, pre proposals, timid and suggestive to share my world. To make a wide interpretation of my work possible, I make it more open. An excessive ambiguity, that could nonetheless turn into noise. I´m attentive to it, which helps me to keep balance between indeterminacy or amorphousness, and what I call germination. Or, the ability to turn the silence of the stain into a continuous practice, or rehearsal, to liberate me from confused ideas. Germination, turning apparent noise into suggestive information.
The Japanese call it Kot-tsu, the technique of perfecting within a spontaneous act, whether in archery, fencing, martial arts etc. I try to do the same with painting. When I am in it, I continually become an actor and a spectator at the same time and in this dynamic the work forms exuberant signs, first amorphous, later full of potential for ordered and aesthetic epiphany.
The stain, its´dynamics are vitality, yes, although still formless, with rich possibilites of communicating beauty. It is in the germination of the stain that complete vision takes over. It is a communicative action of a vital act. I am aware of that what I call germination is the acceptance of the mind in “my poetical” Zen. A contradiction if we agree that Zen moves away from mind. It, I understand, hides from vocabulary and common mental language, characteristic of all languages, that endeavours to search for reasons in actions. I attempt to live it, reasonably without reasons.
Inner experience, that offers the vision that everything is one unity , is an illogical experience. Overcoming mental schemes no matter how developed they are. Once recognised, you face the task of living it, of understanding everything from this recovered look , in the middle of what we call reality.
The essential cannot be transmitted with codes and language, to physical supports or gestures, sound, voice, written words or not. The essential is ineffable, unrepresentable, however it rides unharmed and in silence like an invisible horseman over them all. The horse´s footprint on the paper will depend on the consistency of the white. On its purity and quality. Those which put on this mess know that the reach of discovery and maintaing, if it is possible, its intensity. To stand and grow consciously is the labour, purpose and goal of the game.
Image creators make use of the dynamics of opposites everyday, precisely, at least in my, case to show their “inexistence”. (Wittgenstein has indicated the task of the philosopher to fight against the fascination that exert the representation of forms). I feel that our precise contemporaneity of the initial Informal Tachisme with some astonishing aesthetic value, (as for me, they seduced me since the very moment I discovered it) would be “germinated” with some signs of organisation, weak if you wish, but that make the apparent chaos or noise, for some, an organisation, a cosmovision that is intentionally chosen. I discover that the internal perception of chaos, disorder, and perplexity is subjective. Or, that it emerges from myself as a subject, and only a determinate action of intention towards order sets me on my way, through painting or creative acts, in search of beauty, a compendium of order. For this it is necessary to trust, to extract from myself, the hypothesis of a perfect world. And with a Utopia in my pocket, construct an aesthetic agreement. The task of understanding my world (object), what surrounds me, to assimilate it, creates a process of fusion. Unifying subject and object.
We are in it.