Muzzel nº11 Painting

Muzzle # 11 Studies of visual perception, which generated Gestalt theories in the early twentieth century, demonstrate the creative dimension of our vision, for the eye not only sees, but interprets and selects what it sees, often independently of the brain (Arnheim speaks of a visual intellect). When this refined form of world perception establishes its relations with the intellect, with consciousness and with memory, we are able to see, to perceive, projections of what we are, related to our memories and our experiences. The most common example happens in our childhood, when, in distraction, we observe clouds and begin to see, and to perceive, because they are not the same, complex and defined forms as pirate ships, birds, bears and other creatures and objects . Today we know that our brain seeks through its interaction with the visual system to organize our perception and our relationship with the world, that is, we are always trying to identify, organize and understand what is around us. In this process the brain projects known forms, established in our memory, on the most diverse formations (clouds, spots on walls, shadows in the forest, etc.), creating new configurations, hence the gestalt, German word for form or configuration. This work, which I now expose, is the result of a Gestalt research process, that is, about random spots, often resulting from residues of the creative process, looking for new forms and configurations, allowing the creative process to take place both in the intellect and in the visual perception. It is obvious that over time, and the development of the technique, the process is no longer purely random and not conscious, and I manage to direct the perception in the directions that interest me the most. Thus, consciousness, creation, and chance work together to generate a unique work of art. This piece, called Muzzle # 11, is part of a series of works in mixed technique on paper, which seeks organic configurations through the construction of images with various fragments of form and color, organized in a way to generate gestalt perceptions of creatures and imaginary beings , which have, or whose configuration suggests to have, or in which our visual perception can perceive, the existence of muzzles, something like surrealist / neo constructivist mammals. The origin of this research is in constructivism, abstract art and surrealism, but its organizational principles have over time been subverted and modified in the pursuit of a style of its own, when I then added, as a historical but non-formal reference, the work of Archimboldo , artist of the renaissance, whose work, considered as a prenuncio of surrealism, is a beautiful example of the perceptive possibilities of the human being.