Human DK by Paula Rosa Painting

Through my painting, I like to tell timeless stories, in which action develops in different and often absurd tenses. It may appear as a chaotic stop-motion sequence, in which frames range from the ancestral concerns to the cataclysm of modern societies, on what seems to be the verge of a self-induced apocalypse. The future, as in any unfinished story, is a prominent question mark, being the difference between dystopic and utopic impressions, sometimes, just a matter of perspective. As each perspective is equally important, and no rarely I‘ve found myself learning from others through my own work, whenever talking about it, I prefer to restrict myself to the most obvious, keeping a comfortable distance from the work, to avoid any interference on the viewer's perception. I believe things shall remain as open as possible and I also believe that no authors should convince themselves that their art is condemned to depletion inside their personal boundaries. It rather expands and transcends the limits of the artist, invades each viewer's personal sphere, becoming richer and richer. This is, in fact, what makes Art so passionate. I‘ve always been fascinated by the human mind, and consequently by the broad and diverse fields of Philosophy and Psychology, which inevitably reflects in my work. Humans belong to a strange species, owner of an inquisitive mind and able to convert whatever information into a myriad of forms to serve infinitely diverse ends. We certainly live in a complex and exhausting condition and that's possibly the price we have to pay for inhabiting a world in which systems maintain a fascinating and somehow mysterious dialogue. I‘m as interested in the questions we raise as in the answers we can get. Both seem to be essential lines, intersecting in spacetime, to compose the portrait of Humanity. Down my dead road to understand its nature, I‘ve felt an impulse to cristallize each interesting fragment of the landscape and then dare to call it “a concept“. Once I grasp whatever tools suit my intention, the concept assumes a form, in a physical or virtual support, and can then be communicated in some sort of universal language. “Lables”, styles or “isms” attributed to my work really don't matter to me and I've always despised them. That's another world of our Universe, populated by critics and art technicians. What interests me is the concept, the knowledge I get in the process and the ability to communicate it all visually. I don‘t paint styles, I paint myself.