the Messiah Painting

Francisco Gimon work examines the relationship between a thing and its essence, between what we see and what an image implies. The sense of precarious balance that can be found in his recent paintings thus reveals how utopia and dystopia can coexist within the same image. Gimon delves into the territory of phenomenology and reviews issues related to perception that have fascinated philosophers and art historians, and that have also captured the attention of artists. In his recent paintings, Gimon juxtaposes painting with fragments of urban and natural landscapes. In an effort to shed light on the formal and conceptual dynamics through which Gimon approaches his phenomenological research, by shedding the history of every element reproduced in an environment devoid of identity, Francisco Gimon paintings highlight the crisis of a point from a humanistic point of view, as they illustrate the fractured relationship between an individual and their cultural context. The relationship that an individual has with a place is made up of visits and memories that are stratified in time, resulting in a sense of belonging. As soon as a landscape delivers its history to a context that is capable of receiving all things, an individual may lose consciousness of his position in that environment. Since Gimon's landscapes nullify the concept of a border through which belonging to a place is defined, they end up representing a nation-world in which different identities cancel each other out by overlapping. In the absence of a border, one could see a place that can finally welcome all people. In front of Francisco Gimon paintings, the viewer is then forced to position himself in front of the architectural transformations that have taken place in the main cities of the world during the last decades and that are truly the most visible aspect of history. a profound metamorphosis. This challenge relaunches the initiative of the active spectator who, when looking at the world through a window, finds a mirror in which he sees himself. These paintings must be approached with the concepts of a window (the man who sees the world) and a mirror (the world that shows man the image of man himself) in mind. Francisco Gimon has revealed how in Western culture the mirror and the window have governed and legitimized the production of images, awakening in man the impulse to control the world with his own gaze and to arm it with instruments.