1968. Pontevedra. Spain. Self-portrait.The reason why I am not aware of the temperature of an object when it is the same as that of my body is not that my bodys temperature literally needs to change in order to perceive something as hot or cold. The reason is rather that my sense-faculty needs not already to be exposed to that temperature if it is to become aware of it.Aristotle.I am interested in breaking with the actual aspects of painting by developing a technique based only on the different temperature I can achieve working with acrylic.Not other material is used but acrylic.One has heard of the Temperamental Artist but what does an artist mean when the word temperature is used?We think of temperature as a measure of comfort; sometimes it is qualitative (cold, hot, warm, and sometimes quantitative: i.e., 100 degrees F.)The artist thinks of the qualitative definition: cool and warm. In a sense, temperature in art is in relation to the color - blue meaning cool or cold, yellow and red as warm or hot. However, because the manufacture of paint pigments is not a perfect science, there are cool yellows, cool reds, and (not often) warm blues.All pigments have some impurities (some intentional) and hence, we have a red which contains some blue - a cool red; or a yellow that contains some green - a cool yellow. Yellows that have red are then warm yellows, etc.Now - why does it matter? It matters when you are mixing colors. The basic colors (in art - not light) are red, yellow and blue. By mixing all three, we theoretically get black (dark color.) So lets see what happens when we mix a cool red with a warm yellow: this is the same as mixing all three - which would normally get you a dark color - unfortunately the result is MUD. So, to avoid this problem, the artist, when mixing a yellow with a blue to get green, wants to get a yellow with no red in it, and a blue with no red in it. The same would apply to mixing a red and a yellow to get orange: a warm red (contains no blue) and a warm yellow (contains no green.)But the subject its not what you paint here, but what you paint next to here - there!Im concerned by this transition from liquid matter to decomposed one, which come into view to move our conception and extend.This present ( the progression of decomposition of the flesh of dead organisms) remains involved with the process of production, and this MUD or mood ca be viewed also as four phases:1.fresh (autolysis), 2.bloat (putrefaction), 3.decay (putrefaction and carnivores) and 4.dry (diagenesis).
I studied philosophy and theology at Miltown Institute in Dublin as well as Tourism in Switzerland. Private Studies of Art since 1996.I am fascinated with any limit of language.,
PhotoEspacioOculto. Madrid. 2014
Ponferrada University College. Exhibitions room 2013
Marcos Valcárcel cultural center.. Orense 2013
Porriño cultural center. Pontevedra 2012/2013
Moraña cultural center. Pontevedra. 2012/2013
Pontevedra Museum. 2012/2013
Ateneo Cultural El Albéitar. León. Coleción Andante. 2012.
Área central. Santiago de Compostela. 2012
Ambiertarte Terza Edizione. Yacth Med Festival . Gaeta. Sede Asso- ciazione Culturale Novechento. Pinacoteca “Giovanni da Gaeta”. Rome. Italy. 2012.
XIV Certame fotográfico. Xosé Manuel Eirís. Pazo de cultura de Car- ballo.Coruña. 2012.
14th nternational Exhibition. Soho Photo Gallery. New york City. 2012.
Galería Maxó. Barcelona. 2011
Sala cultural de Banika. Vizcaya. 2011.
Centro de arte cultural Goñi. Vizcaya. 2011.
Centro cultural Urduliz. Vizcaya. 2011
Centro cultural Kurtzio. Vizcaya. 2011
Centro cultural Lemoiz. Vizcaya. 2011.
Sala de exposiciones culturales de arte. Gorliz. Vizcaya. 2011.
Small Soldiers Proyect. Arte contemporáneo. Spazio Sansovino. Turín. Italia. 2011.
Exposición Andante. MACUF. Museo de arte contemporáneo de la Coruña-