Oriol Rosique, Motocicleta Mínima, 1995
Student group 4th year, Hidroala Capità Santiago Pey, 1997
Same as it ever was ...
Increasingly, the world of art understands in its interpretation a vast range of thoughts, values, functions, resources, etc. The idea of art lives thanks to its own lack of definition, to the ability to astonish itself, to look at the mirror and not recognize itself.
The originality, the novelty, the rarity, the unexpected, the strangeness are intrinsic values in the peculiar character of what is artistic today. Formerly, the artists enter in the unknown and with this act they extend the horizons of the condition of the human conscience (the own one and the one of the others).
Talking about the unknown is to situate ourselves in the context we know we do not know. Let's investigate, explore, try, speculate and delever ourselves by weaving hypotheses where the real, the new reality is caught.
It is not strange, then, because of what we already assume as known, that the idiosyncrasy of the human being is guided by theories, conjectures and rumors.
In the midst of so much artifice and such virtuality, we suffer from the hallucination of being alien to nature, of having overcome it. We look at it and almost no longer recognize us, and is that within what we call the well-known there is the large plot of the forgotten.
The reality is that humans did not stop being wild when we became mythical, nor did we stop being mythical when we became rational.
Most men and women forget the creative capacity. Perhaps most creative artists forget that they themselves are creations.
For now, the stranger is forgotten, and talking about what is forgotten is recognizing that we do not know what we know.
From this concept, there are inseparable denominations such as design, art, etc.
"A little more to the west"
Inspired by nature, they recommended the classics, and searching for this inspiration has been recommended over and over again to return to the gods of authentic knowledge, to overcome dead ends and confusion. Although now there are no voices with this proclamation, it seems that one of the constants of these objects that are exhibited is this return to the sources of nature.
This return is not made through the paths of mimesis, but rather to the observation of the most basic laws that order the functioning of the natural machine, as we also observe a shock, a dialogue, between organic forms and natural materials with the Forms of the industry and prefabricated materials or, rather, preconformed.
It is well known that energy is not created or destroyed, it is only transformed. As old and well-known we might have forgotten it, and from the application of this axiom a new generation of objects is born.
The water that transpires through the old pottery, which refreshes itself. Games of subtle lights, movements and shadows that draw the movements of the air and the movements of the body. Air captured to make us hear the sounds of the world from inside and outside. Echoes of skeletons and traces of footprints on the body itself. The air and water that model the material and which, once analyzed and calculated, will conform to the fine work of the creators. Experimentation with application of natural and, perhaps ancestral, substances and procedures to shape the material culture of the future. Examples of this synthesis, of this dialogue between the proposals of nature and the activity of the creators.
All these achievements can make some old dogmas of modernity into crisis, and put an end to the uselessness of what efforts to fit the forms and functions under the direction of some formal parameters and conceptual preconceptions.
And when the laws of nature and intelligence work accordingly, there are enduring works that give us more service, since we are not just machines that are in line with these principles, and we should not forget That from a clunk of electrical connections, not yet well explained, is where our emotions come from. Apparently, everything we see here, also ourselves, is star dust.