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TO PAINT THE REALITY


To elaborate realistic painting nowadays, it is to go against the current of contemporary art that has left the transmission of visual intelligible messages, materializing the idea as a concept separated from the creative action, up to getting free of the reality, entering an absolute when everything is accepted, where no universal truth exists and every interpretation depends only on subjective criterion of every observer. Already anything is good or bad, everything can be valid and fair, in without substance where the environment remains reduced and diluted in the logic of the emptiness, where passion predominate over nothing and where all values are relative. But fleeing of universal truths, one ends up by landing on them, this art way based on concept turns out to be more academic that the figurative paintig against that it had rebelled, being now hermetic and undecipherable for the majority of spectators.

With my realistic painting I try to recover the constitutive force of coherence. To identify clearly way we see, it gives us better conditions to understand the world. We can learn to understand and operate intuitively the complexity of the modern technology, but most of human learning process is realized visually. The understanding and the communication by means of unlenguaje, only it is possible when we undersant what we see.

In my paintings I aproach forms, lights, colors and perceptions that were related in a certain moment. I need to detain the time and to analyze them without words, without added of surpluses explanations, describing my point of wiew and unifying the diversity in an alone concrete image. This way the picture arises from my emotional need, to turn in a expression of my thought, in a select sequence made concrete to invite the spectator to cross intensely everithing the work. To look at my painting is a visual trip where the spectator chooses the speed of the analysis, but the spatial selectivity and variations of intensity and of attention in communicating the different scrutinies, come marked by intensive method of long process of descriptive elaboration by dedication and invested work without looking at the clok, without any temporary speculation that alters the creative practice.

ALBERT SALA
2008