Ricardo Morin

Infinity

In my work, I make no reference to any specific art historical movement, nor to avant-garde moderniste agendas. I look at art in the making as the fleshy product of human experience. Yet, for me an image or object of art seeks not to explain what the meaning of the experience is; rather the image manifests the act itself to provoke an interpretation. My recent works “2005-07” project a synthetic perspective of pictorial space manifesting infinity: Art allows us to transcend the material world of signs, and to reach for the infinite. Just as our own idiopathic nature is oblivious to causality, my aesthetic frame embraces all the senses with the image as its residue. There are no outside sources nor a preconceived notion of the final composition. In a gestural and intuitive fashion, I use the plane of the canvas or paper as an active platform onto which the drawing or painting medium is applied-- in variegated densities, layer after layer, transparent or textural--; the works transform through a gradual process of accruing. As with my oil paintings, my drawings and watercolors—including recent digital paintings-- operate autonomously; however, they act within an accelerated framework as a counterpoint to the lengthy progression of the oil paintings. The inner rhythm of each composition unfolds to guide a series of shifts in which form is constructed, buried and reconstructed: exalted, veiled or reattained, thanks in part to the very gritty and sumptuous nature of the medium, the moody and acrid quality of dissonant or complementary layers. Thus color, as texture, establishes the emotional landscape of each work. The finished work stands as a concentration of multiple layers, each former state through numerous subsequent strata is integral to the final result. A sense of multi-directional movement keeps the eye in perpetual motion, glancing over delineated shapes and peering through the enmeshment of strokes over arabesque markings. A sense of having been charged, the fluidity echoes the evolution of forms below the surface. Fueling my vision is the drive to push the emotional and accidental to a communicable degree of sublimity. I am engaged in a constant struggle, of abiding and testing out my own revelations until the work becomes omniscient. In an ongoing dialogue, I work on several canvases and drawings simultaneously allowing them to inform one another. I choose the golden proportion 1=1.618 as a format that is manifestly inherent of infinity in order to divest a dialogue with the fluidity of the medium, and to conduct a triangulation of the plane, thus reasserting its flatness and object-like qualities. In reality, it is just a calculated pretext to contextualize and validate my own psyche and idiosyncrasy: an extended thought process made concrete. Seeking a degree of universality, my vision has evolved by retracing the unifying plasticity of the masters of the classical West into the cacophony a multicultural world. Yet as a strong believer in the role of the author as outside of marketing trends, I hold my own stake, and remain steadfast to the conviction that what defines me, indeed all artists, is absolute freedom. d to conduct a triangulation of the plane, thus reasserting its flatness and object-like qualities. In reality, it is just a calculated pretext to contextualize and validate my own psyche and idiosyncrasy: an extended thought process made concrete. Seeking a degree of universality, my vision has evolved by retracing the unifying plasticity of the masters of the classical West into the cacophony of a multicultural world. Yet as a strong believer in the role of the author as outside of marketing trends, I hold my own stake, and remain steadfast to the conviction that what defines me, indeed all artists, is absolute freedom.