TO FIND THE EMPRESS Painting

Fidel García conceives his work as a space where realism and abstraction engage in a dynamic balance. For him, abstraction is a language that must speak on its own—an energy carefully built in advance to express vitality and force, a contrast that emerges on the canvas as the beginning of a journey. Figurative elements, on the other hand, provide depth and humanity: faces, bodies, and meditative expressions that reveal inner questions, particularly in the women he portrays, whose postures and gestures communicate inquiry, emotion, and an intimate search for answers. When he achieves the fusion of figure and abstraction, Fidel feels that his goal has been accomplished. The dialogue between the two is not forced but organic. At times, abstraction demands the presence of a single figure, at others, of several, creating a rhythm that generates strength and expressiveness. This encounter is especially evident in ballet-inspired poses, where movement and stillness coexist as metaphors for the inner life. His work is guided by a philosophy close to Zen and Taoism, where landscapes and figures merge in meditative atmospheres. Nature becomes both stage and reflection of states of consciousness. In terms of color, Fidel explores contrasts such as cold and warm tones, darkness and light, monochrome and bursts of color, revealing opposites as complementary aspects of unity. He defines abstraction as the “representation of human emotions and feelings without the use of tangible elements.” To achieve this, he plays with textures, forms, and contrasts of light and shadow, inviting the viewer into a contemplative experience. For Fidel, art is not mere representation—it is a realm of meditation and inner search. His creative philosophy is encapsulated in phrases such as: • “Art expresses the odyssey of the soul through the ages.” • “Painting is a creative act filled with joy, curiosity, and delight, an adventure to discover our perspectives.” Within Abstrism, Fidel García contributes a unique balance between technique and philosophy, body and spirit. His works not only present figures and abstractions in harmonic tension but also invite silence, mystery, and the contemplation of the invisible.