Carba. 100 x 104 cm. Mixed media, polyester board and putty.

Paco Rojas

Encuentros Open

7 November – 13 December 2011
Blasque. 122 x 122 cm. Mixed media, polyester board and putty
Guanero. 122 x 122 cm. Mixed media, polyester board and putty
Coron. 122 x 94 cm. Mixed media, polyester board and putty
Maxco.  218 x 122 cm. Mixed media, polyester board and putty
Sanko. 80 x 90 cm. Mixed media, polyester board and putty
Velavero.  200 x 200 cm. Mixed media, polyester board and putty
Poscorinto. 200 x 150 cm. Mixed media, polyester board and putty

Paco Rojas

Encuentros Open

7 November – 13 December 2011

Artistic representation traditionally contemplates two basic theories: one idea focuses on mimesis or imitation and the other considers art as a complex, diverse language with no fixed norms. In any case, a work of art must be nurtured by plastic concepts and, in order to assume it, we must bear in mind that these conceptual genes come to us through reigning and timeless philosophies. At the end of 1960, with the triumph of conceptual art, it was assumed that artistic concepts were always there. At that time, questioning the intrinsic values ​​of art, Adorno denounced a crisis of identity; He did not deny that art became very important at some point, but he wondered if it remained. At the end of the 60s he wrote: «Everything related to art has become a problem: his inner life, his relationship with society, even his right to exist.»

Plastic concepts have been latent in the true works of art of all time; Behind each one throbbed an idea or a plastic project. I understand that the artist, for each work he performs, has to think and outline a project; A purpose to be fulfilled. In the making of this purpose, the creator attempts to crystallize – consciously, or unconsciously – ideas, desires and other foundations. For this, the most effective weapons are instinct, reason and history; Of this, in particular, the inherited plastic philosophy. In my project, to generate life and soul, a work must be born of unipersonal and extemporaneous plastic feelings. This forces me to construct the signs of identity for each work; His personal attributes. Although each process or experiment delimits its own laws, I am not attracted to serial experiments; Taking a series of actions, but each action usually finds its response by marking the differences.

This last stage opens a genesis of expressive phenomena based on dialogues between painting, textures and integrated designs. The bodies of these geometric-cut designs have organic insides and are forced to live on a surface unrelated to their nature. Is your attempt a confrontation, a dialectical battle, a confrontation of forces …? Is coexistence, constructive dialogue, love between genders or ways of thinking possible? The incognito emerges as a saeta looking for a heart, like a book opening its pages, like a breva in season that offers its sweetness … The meetings are offered open and invite to dialogue; Are exposed to the viewer’s gaze.

 

 

 

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