Apperception # 20 Painting

Title: Aperception # 20   Author: William Rafael Marquina B.   Technique: Acrylic on Canvas   Series: Aperceptions of Dikaiosyne   Dimensions: 23.5 x 23.5 inch   Year: 2019 The nature of this research focuses on the deconstruction of visual perception in painting through the appropriation of the Rorschach test in the field of psychology, also in relation to Husserl's perception and perception postulates in the philosophical field, and finally, by making these disciplines applicable in the field of visual arts, they make my work corpus an interesting multidisciplinary study. For more than 20 years I have been experimenting with visual proposals, integrating different materials, concepts and theories related to the possibility of deconstructing the image and the way to explore perception and its interpretation from the observer. I have been studying the topics of psychology and philosophy related to the field in which visual perception occurs and how this phenomenon is linked or suggested as emotional projections of the human being from his past experiences. In my appropriation of this clinical discipline of the Rorschach test with painting, I have set out to explore visually these sensations that occur, an artistic level where I propose deep perceptions that unleash the observer. This value contributed to my artistic practice has been the driving force to migrate from my country of origin (Venezuela), due to the political reality that occurs there, the main reason why my research has been facing multiple difficulties for not having a space and suitable time, as well as the resources to continue my projects. Since April of the year 2019 I am in the city of Quito - Ecuador, time in which I have made a number of 14 of these works and in the process of carrying out others, being able to access some resources for my proposals such as Acrylic paint and canvases. The basis of my creative practice is flexography through the use of acrylic paints on canvases, without the use of tools such as brushes or spatulas, rather I reduce the pictorial action to an intuitive and autonomous state by the fluidity of the acrylic medium, instead of a pictorial reasoning. In my process I use a flat surface (floor or table) on which I spread the fabric without tensioning, then on it I pour the drip paint without shape designs; then I proceed to the folding of different planes by folds until one surface is superimposed on the other; then I execute or pressures on these folds with my hands or with my body, in order to achieve (after several successive abatements) shapes and perhaps figures that there surprisingly appear as a result of the autonomous fluidity that the paint creates according to the provision of the colors and the compressions exercised. The visual result of these productions works in a particularly analogous way to the apperceptions that the observer projects with the images of the Rorschach test. In the test, an “apperceptive distortion” is perceived, the result of the subconscious projections from the past experiences of the subject. In my works, the same type of apperception usually occurs, although in a more creative way, it can trigger new, deeper visual sensations in each particular observer.