INTERFACE n°6 Painting by Alejandro Mendez

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Interface6 (mockup exhibition)
Interface 6 (detail)
Interface 6 (detail)
Interface 6 (detail)
Interface 6 (detail)

Art Description

Painting: Oil, Charcoal, Canvas on Canvas.

As a person I have found myself in the need to overcome certain events that impacted my life as a trauma and that, with the practice of art, I found a way to accept them and transform them into the inspiration of my artistic work. For me, trauma and pain have been creative triggers, a series of complex facts that forced me to rethink the learning of life, mature and understand that living is a school, a transition classroom, and not an arrival station.
I am a painter, and with the fact of painting, I not only set out the objective of doing work, but also taking advantage of, in an important way, the physical and mental act of doing it with a beneficial purpose for me as a person. Painting in my workshop is when I manage to meditate on traumas and pain and deepen my self-knowledge to seek an understanding and balance.

These traumas were painful events in my life that I constantly remember and, every time I relive them, they cause complex effects on me, both emotional and physical. What happened cannot be deleted or modified, it is still installed in a place of my unconscious, associated with a specific painful experience that cannot be reversed. This causes that my behavior, when approaching a similar situation, is constantly altered by detonating a memory automatically. The interesting thing is that my gestural practice, at the body level, has resulted in unlocking, to some extent, such traumas and placating my inner pains.

My artistic work has modified in a certain way the negative point of view that I could have and has changed it to leave it as an experience of growth more than just a painful memory, and in parallel, it has allowed me to bring my inner landscapes full of materiality. signals, intriguing symbols and sharp structures, with movements and gestures. It is a composition of anthropomorphic, plant, muscle and body elements sometimes it seems that we see hidden characters among the intricate visceral tissues that I draw and paint. This compact mortar creates a kind of kaleidoscopic opening that reveals ambiguous glimpses of a landscape, with evocations and hidden scenes among the network that contains an environment about to overflow.

It is a mystery to understand the turns that life takes and sometimes the answers to the questions can take more than 25 years. Understanding why the human being must experience life, and not only exist is the great challenge. I can say, knowingly, that I have traveled through suffering and happiness, and it is now more than ever that I cannot deny what I am, a visual artist, musician, father, person.
I have taken the time to observe, meditate and work on my work in order to understand that being linked to the craft of visual arts requires motivation, a vocation and an issue to investigate, and that is the reason that justifies what I do. The ultimate purpose is to reconcile with my own existence. That is why, after three years of, where my works of 2015 and 2016 were monochromatic and with a more twisted graphic gesture I see an evolution towards more open and dynamic compositions where chromatic ranges of great development and interaction appear, such as The works of the year 2018 and 2019. This work, which has been more intuitive than rational, is consistent with the internal change in my person, caused by a process of acceptance and personal maturation.

This change has made me understand that the function that this practice fulfills in my life is a healing action, a construction of dream worlds, interior landscapes, which are the path that I travel towards my reconciliation and personal reconstruction. Every day in the workshop is where I remember and reflect while I do my pictorial trade, with enjoyment and pain, even physical, which keep me motivated in front of the canvas. Sometimes there is calm, sometimes fury, music, silence, in a sort of active meditation, inside my shelter, in which I externalize the messages I receive from within.

These visualizations allow me to release the pain and fear to analyze, from the path of art, this internal struggle that is outsourced through each movement printed on the web. I can say that, permeating the support of those gestures in which rage, fear and insecurity are portrayed, is that I manage to capture those feelings and then catalyze and evaluate them as a life learning, rather than as a negative fact or drama . Each of my traumas has become a teacher who has left a teaching.

My work is complex, personal, a rescue mission that aims to reconstruct an identity which is currently fragmented. The intricate chapters of this story, full of feelings, memories and experiences, were recorded in my unconscious and written as a pattern of life from which I can not separate. For this reason, I only have to decant everything and make an evaluation with a view to learning from the experience and trying to solve the questions that remained unanswered. It is then that I can understand the existence of these messages that come to light through my pictorial gesture, as if someone was directing me or revealing an enigmatic information that seeks to be defined through becoming material on the web.

My work in the workshop has been transformed into this reconciliation tool, the result of a deep introspection that is reflected in the support, with which I can visualize and diagnose the repercussions of the traumas experienced in my personal and family life.
The images that appear are taking on a meaning with which I create my own narrative that advances day by day in my workshop, from the first drawing to the multiple layers of paint.

It is for the same reason that I do not conceive of another work methodology other than the one that allows my graphic-pictorial compositions that evoke provocative elements, with movement and character, that sometimes seem to germinate or explode, which is why I consider that It is the only way in which I will be able to advance in my mission. It is a visual scream that emanates from the depth of my unconscious with which I materialize my concerns, fears and concerns and then contemplate them within an intertwined network of symbols that develops at each stage of my work.


It is clear that the thematic content is not easy or simple to develop or explain in words, nor are the reasons why the difficulties, regrets and diseases have occurred. Making a parallel with traditional medicine, my creations would be an x-ray of a sick patient looking for a treatment. Given the complexity of the diagnosis, I intend to share my experience and creations and leave this emotional analysis open to help other people to whom it makes sense. Personally, art has served me as a powerful tool that opens paths in emotionality and that can cure and calm my inner ailments. With this comparison, my artistic work would generate answers that could be a medicine for me as a person, a kind of intuitive therapy that has no manuals or defined codes with which to orient myself with total objectivity. The only advantage I have, being the creator of these multiple visions, is that today I can take distance to connect them with my past and project them into my future.
The artistic development in which I have embarked is a journey with an unknown direction, but with a clear determination to clarify the issues that I have proposed to address. The metaphor of a trip that addresses mental elements, immersed in spatial compositions and other suffocating ones, seems to me to be right since every trip, no matter how programmed it has been conceived, is not exempt from suffering modifications to its road map. The absence of a map of this intangible world forces me, as a visual artist, to propose a new way to show these figurative codes, as if it were a spyglass to which new lenses are installed to view elements never seen before, or when less unrecognizable, and where each viewer should use their own prism. Stroke by stroke I write a retrospective life diary, visually describing a series of scenes that transform it into an open book, but not without visual puzzles, that invite the viewer to a patient and contemplative observation. Everyone is invited to share and observe this experience and, somehow, help me get to the harbor in this adventure.

All this problem that I am developing, in which the communication language is mainly visual, reminds me of the American psychologist and writer Weyne Dyer (1940-2015), who postulated that "if you change the way you look at things, things that you see change ", a thought that invites us to have a positive attitude for the actions we carry out in life. The intention of your thoughts and feelings determines the result. It may seem an assertion without a scientific basis, but in the field of art, science is only one invited to participate. This concept is of my interest since it is linked to the visual and that makes mention to the look, therefore, to the looked.
This is how I make a connection of this topic with my work, even when it is labeled as an esoteric topic, which undoubtedly has a link with some therapeutic practices that have allowed me to find answers to questions I have asked myself in the latter years.
In my view, the only way to live in harmony with our environment and our peers, is to do it in a state of peace, calm and health, conditions that every human being seeks to reach or recover when they were restrained by events from their past. . For all of the above, I consider it pertinent and appropriate to my artistic work to make a link with these currents and to look for connections with such broad topics as those described, so that I can heal what is necessary and at the same time do work. The latter defines the current stage of my work, which is in full development and evolution. Once the veil of the mystery has passed, through my practice and the narrative of my language, I will be able to register this case and continue my path of humanity in search of something more than just existing.


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INTERFACE n°6

Alejandro Mendez

Chile

Painting

Size: 63 W x 51 H x 0.1 in

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