Abstract Intensities - Limited Edition of 5 Print

Series: "Intensities". By Ezequiel Alegranza. The series of works that I append below is called "Intensities". His name is inspired, in principle, by a concept used by the French philosopher Gilles Deleuze; but, in my work, I intend to go further, beyond the text and restructure it artistically. Then, around the artistic tradition my work is inscribed in the line of post-war abstract expressionism. The works are composed of biomorphic forms, which I consider an evocation of the concept of "life" in its radical tension, in its difference of intensity. That is to say, let's say that "life" as a universal only exists in relation to individuals: something alive, eg a dog. Now, within the forms that constitute these living particulars in their most abstract dimension we find biomorphic forms. Then, in a state prior to the existence of a particular entity alive, these forms appear that present a pre-ontological state (where there is no differentiation between things) and from which all things emerge. In this state the elements are in a pure ambiguity, copulating with each other. Understanding life as a difference of intensities.   In praise of ambiguity; I am tempted to say that its positive quality lies in the generation of a multiplicity of possible worlds and an infinite variation in its interpretation. The ambiguous allows to free the sensibility of the judgment, of the thought and of the language. Then, in its negative quality, ambiguity suspends the meaning and reference of a work; and in turn, freeing the particular meaning that each viewer through its categories can give. Thus, a silhouette can become a multiplicity of objects according to the eyes that look at it. On the other hand, in my work the point of departure is the act of creation itself. A letting go, intoxicated, by the unconscious psyche and the crap or the divine that can arise from there. I usually make compositions from nude images of women and some extensions of nature. I analyze them until they reach the biomorphic forms that compose it; and then, I synthesize them. Sometimes I usually make free traces and from the gestures of the same continue the work.