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The work consists of a slate-colored matt surface on the top and a bright red crystalline surface at the bottom.
The inferred part represents the burning lava and the upper part represents the sulfur gases that ascend towards darkness.


We see colours, pure as the respected mistery. The eyes want to get inside it and profane it, but the artwork doesn’t reveal it’s secret: to offer to the sight a secret, this mystery, requires its alterity to be elusive, transcendent, like what in reality is absolute, compelling but elusive. The mystery returns to its opacity just when it promises to be revealed.
With the sight, the spirit reaches the artwork and embraces its own silence, the opportunity to listen, specially to itself. There is no noise anymore. What is given to us is the ability to continue receiving.

My work is spatialized time. It  incorporate time not as length of work (product) but as an element that in its flow provides a unique form in space. My work do not take a moment of that flow, stopping it:  it is just part of that flow. Lines do not capture the movement; they are free gestures of the pure pigments and the matter. The theme of each work is the result of this process in which technical knowledge and fun come together.

I think that each work it’s an self-built object. The artist-demiurge lets the artwork born. I give it freedom to become by itself what embryonically already is. Rightly.
Thus, my works are objects as real as reality itself. Mimesis is overcome, not by the way of giving it up but moving it beyond its limits: what I question and imitate is no longer a given real object but the own natural processes by which something comes to constitute a space-temporary object. That which is the subject of painting is not previous to the process in which it is self-constituted as an object and, in that sense; I do not predetermine its meaning. The intention in chance is, on the one hand, the intention of respecting the passage of randomness in time and, in the other, the tension that the object itself states in its relationship with the artist when it demands to be made. I  give to the object its receptivity and its elaborate technique for the genesis of the object to take place.
The work consists of a slate-colored matt surface on the top and a bright red crystalline surface at the bottom.
The inferred part represents the burning lava and the upper part represents the sulfur gases that ascend towards darkness.


We see colours, pure as the respected mistery. The eyes want to get inside it and profane it, but the artwork doesn’t reveal it’s secret: to offer to the sight a secret, this mystery, requires its alterity to be elusive, transcendent, like what in reality is absolute, compelling but elusive. The mystery returns to its opacity just when it promises to be revealed.
With the sight, the spirit reaches the artwork and embraces its own silence, the opportunity to listen, specially to itself. There is no noise anymore. What is given to us is the ability to continue receiving.

My work is spatialized time. It  incorporate time not as length of work (product) but as an element that in its flow provides a unique form in space. My work do not take a moment of that flow, stopping it:  it is just part of that flow. Lines do not capture the movement; they are free gestures of the pure pigments and the matter. The theme of each work is the result of this process in which technical knowledge and fun come together.

I think that each work it’s an self-built object. The artist-demiurge lets the artwork born. I give it freedom to become by itself what embryonically already is. Rightly.
Thus, my works are objects as real as reality itself. Mimesis is overcome, not by the way of giving it up but moving it beyond its limits: what I question and imitate is no longer a given real object but the own natural processes by which something comes to constitute a space-temporary object. That which is the subject of painting is not previous to the process in which it is self-constituted as an object and, in that sense; I do not predetermine its meaning. The intention in chance is, on the one hand, the intention of respecting the passage of randomness in time and, in the other, the tension that the object itself states in its relationship with the artist when it demands to be made. I  give to the object its receptivity and its elaborate technique for the genesis of the object to take place.
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EL PRINCIPIO X Painting

Pin Vega

Spain

Painting, Acrylic on Wood

Size: 17.7 W x 31.5 H x 1.2 D in

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$2,200USD

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127 Views
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About The Artwork

Esta obra es una fusión de técnica y emoción. Utilicé acrílico, resina y pigmento de pizarra para capturar una atmósfera etérea. Encarna la espiritualidad oriental, la tensión entre calma y pasión. Es un homenaje a la intrigante dualidad de la existencia; un recordatorio constante de la profunda belleza que reside en el equilibrio. Esta pieza traerá una energía introspectiva y estimulante a cualquier espacio. La estética Zen, ha contribuido a interiorizar o espiritualizar la pintura contemporánea occidental. En momentos de crisis de la pintura por el extraordinario dominio de las tecnologías digitales y visuales, el pensamiento y la estética Zen podrían contribuir a su revitalización tanto material como espiritual. El kakemono (掛け物), en el arte japonés, es un objeto que se cuelga de la pared, generalmente una pintura o caligrafía. Se cuelga de forma alargada en sentido vertical, en un muro o en el interior de un tokonoma, (una habitación de estilo japonés con suelo de tatami ).

Details & Dimensions

Painting:Acrylic on Wood

Original:One-of-a-kind Artwork

Size:17.7 W x 31.5 H x 1.2 D in

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When he was just a child, as a christening or as a harbinger of artistic experience you would experience as an adult, during a vacation in the swamp of Guadalmellato in the province of Córdoba, PIN decided to dive into the deep waters of this reservoir for unmask the mystery of strange formations clay mineral composition from the shore that were introduced in the water under the strong character of a vein mineral. After your swim initiation, plunged again. But not this time in the shallower waters of academia, resulting in numerous outstanding and Honours in the Faculty of Fine Arts in Madrid Studied in four intensive years of the five career lasting, perhaps precipitated by their desire for independence within the art scene. Studied Fine Arts in photography with Cristina García Rodero and Matilde Muzquiz, audiovisual sculpture and three years, ending specialty degree in painting in 1992. Already in 1990 after feeling prepared technically and mentally decided to introduce in the academic art that he occupies today and that feels irrevocably drawn. Later also devoted to teaching drawing him especially expansive creativity of children. Exhibited for three consecutive years in different cities of Germany falling in love with your color palette and its velvety finish that stage the German public, which keeps a fond memory. Specific pigments selected for their works suggest the most basic human concerns. Pigments of the highest quality and purity, and preferably, due to its purist technical preparation of mineral origin. At first only worked with essentially warm colors and matte finishes but in their evolution eventually incorporate most beautiful blue, bright finishes, emulating water surfaces and the present absolute green, as the color of life. His work presents a language recognized by everyone, a timeless mystical perception. As happens in nature all depends on how you look and what you want to see that it is something mystical. The spaces you'll discover below, are illusory spaces but analogies with real spaces, realities in themselves. PIN, attracted by the unknown seeks to create mystery through elements such as emptiness, darkness and the unknown.

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