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MARCELLUX
RESUME
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Table
of Contents Critiques: 1.By the staff of NY Arts Magazine (New York) 2.By the Greek Newspaper "Haniotika Nea" (Crete Island) 3.By
the Art Critic Pablo Villar Mariscal (Madrid, Spain) 4.Published at “Art-mine” by
Alex McCormick (New York) 5.By the
Spaniard Art Critic Eduardo Arboleda Ballén (Segovia, Spain) 6.By the
Art Critic Silvia Pellegrini (Buenos Aires, Argentina) 7.Marcellux
by Marcellux: Self Biography 8.Comments
made by gallerists and VIPs 9.Marcellux
XXI Century latest Exhibitions (2005-2000) 10.Art Encyclopaedias and Art Books 11.Marcellux' works in Museums 12.Dialogs
between Marcellux and his Spaniard critic Pablo Villar Mariscal
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New York 07/2003 Expo. At the background you can see the works: "Pyramidal light" & "Expansion"
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1. Critique by Patricia Pac from World Art Media
- New York ARTS Magazine
I was impressed by your abstract acrylic paintings, particularly the bold colors that you use. |
Marcellux in the media: Marcellux' Greek Exhibition 2002 was
commented in the greek newspaper “Haniotika
Nea”, 5 November, 2002 |
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2. Critique by the newspaper "Haniotika Nea"
(Crete Island, Greece)
Marcellux has been influenced by Kandinski, Man Ray and Miro. His favorite themes are people and their symbols. He is also fascinated by Platonic ideas as autonomous entities that exist before and beyond their expression in whatever form. His works are powerful and primarily structural. He exhibits at OMMA a series entitled “The Limbo of Maths”, and explains, “Plato said that ideas existed before men. Where did maths exist before men appeared? In the limbo of maths, of course… Ideas exist and mathematics is alive. So welcome to the limbo of maths.” “Haniotika
Nea” newspaper, 5 November, 2002
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Marcellux was a featured artist in
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3. Critique by Pablo Villar Mariscal (Madrid) Marcellux’s origins come from the union of a grandfather from Catalunya, (Spain), and an Italian grandmother from Rome. He’s been particularly influenced by the art of Kandinsky, Man-Ray and Miró. His work focuses on the interaction of the mind and the artwork. Men, their myths and symbols are some of the favorite subjects that he chooses to rediscover in a visual language. He started his work when he was only 10 years old, making ceramic sculptures. After high school, he studied at U.B.A. University of Buenos Aires, where he got his degree in 1987. Nowadays, he is a professor there.
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More of New York 07/2003 Expo.
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Concepts of Marcellux: "Life is nothing but a mental fight toward our blindness of understanding"- he says "Art is one of the powerful tools we’ve got to make people win the match". "Forms, colors, textures and movements are only a quantum of light, without our brain to give them meaning. Being able to see colors and forms and have an internal image or feeling of pleasure or agreement is one of the richest experiences a man can have. It is one of these moments when you realize that life deserves to be lived and that it’s beautiful" Marcellux's paintings are strong but not violent. I think that they contain 'cool passion', as the one that happens when a young man has just fall in love with a girl, there is sweetness and passion, but 'restricted', 'restrained'. It’s like a blues, peaceful but passionate at least. Maybe it’s like staring at the sea under the moon in a summer night. The colors seem to respect the environment without hurting it. This is not the usual behavior in Mother Nature, which invades the entire scenario if it can. However, there are energy and impulse in the work, and that is what I consider fascinating: The fascinating passion that emerges but makes me feel the harmony of the being at the same time. Marcellux's paintings makes me nervous (in the positive meaning of the world) because I see a challenge for perception in them for people like me, who appreciate when we find a renovation of what we know about art. |
Marcellux exposed at the Grand International Art Festival- Int' Fine Arts Exhibition under the aigis of the Government of Hania, at the Neoria public exposition Center- Crete Island, Greece:15-30 March 2003
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We all know that art is a language. The great questions I ask myself after the contemplation of these paintings is: If it is possible the 'cool passion’, the 'moderate impulse'? Can we control our own internal worlds? Should we let the chaos take us and carry ourselves through it's sharpen paths? Marcellux seems to have an answer to my wonders. Pablo Villar Mariscal |
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| 4. Critique published at "Art-mine" (New York) | |
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Marcellux
transforms basic shapes and colors into powerful compositions that depict light,
shape, power, and mechanized form. The
disparate parts of Marcellux’s
work are suspended between ground and foreground. His subject matter seems vague, but familiar at the same time. The iconography is
reminiscent of primitive, or ancient markings, yet seen through the scope of a
surrealist lens. But the work feels contemporary, with a reductive palette that
places the work in its own realm. Marcellux’s work seems to speak about enlightenment through
an aesthetic experience. His forms are elemental and mystical. They transcend
cultural signification to speak about a broad visual experience. The
conception of light as a form is particularly innovative. Marcellux's
representations of light are ambiguous and usually objectified rather than
reflected. In addition, he uses negative space to show the absence of form and
light. The
work depicts environments that allude to feelings or mental states. These
environments are created from basic symbols, which maintain a mythical
representation on Marcellux’s
picture plain. Marcellux has exhibited internationally. (Alex
McCormick. Published at Art-mine -New York 2001)
5. Critique by Eduardo Arboleda Ballén (from Segovia, Spain) One of the keys of the force of Marcellux' work can be found in his capacity to survive to himself. His actual work has, in the first place, the halo of the steps of a whole life that has been lived, but when we place in front of the plastic and discursive evidence of his work, there are some artistic elements that indeed show us that the artist' speech (without leaving his own fidelity), has the capacity of being synchronic. (Note from the translator: It is very difficult to use the exact words and give the right idea of the feeling involved. In this case the original word translated as " synchronic" is used meaning harmony, coherence, order, peacefulness) His world has a feedback with the artist's own life, and only the communication with his own present in connection with all his lifetime work is what makes his work be always fresh. To paint is just another way of saying "to feel". Using this concept, Marcellux' work (that shows vanished and internal landscapes), seems to pretend an heroic sublimity thought de creation of spaces without scale, with a lack of external references, that seems to pretend the absolute. It is a game of soundless poetry and brief bewitchment that requires from us a certain time in the contemplation to become evident, because although at first glance we see few elements in them, however, as time goes by we can perceive something sensual, environmental, an atmospheric halo and a magnetic attraction that is not frequent in actual art proposals, that just use unusual images as a way to make the audience feel surprised. By: Eduardo Arboleda Ballén. May 25 2002 Segovia, Spain. |
Marcellux in the media: An individual exhibition of Marcellux paintings was organized in Brazil in Jan 2005 by the art museum "Artenarede Museum". This fact appeared in the first page of the local newspaper "A VOZ DA SERRA", january 7, 2005. You can see a picture of one of Marcellux' paintings: "Moebius Strip Opus 1" . You can enlarge the newspaper image it if you want.
Marcellux NY 2002 Expo was mentioned here
Marcellux NY 2002 Expo was mentioned here
Marcellux NY Expo 2002 was mentioned here |
| 6. Critique by Silvia Pellegrini. | |
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(Note from the Webmaster: This critique was originally written in Spanish. The translator's name is inknown. Perhaps it was Mrs Pellegrini herself ) Marcellux’
work reveals a unique philosophy that stemming from the ability to feel art and
an open mind, translates into a shape and color kaleidoscope.
His road
is marked by a thoughtful analysis of the pictorial terminology and its
different interrelationships, designed to master surfaces accompanied by a
mighty light and shadow interplay; supported by structures that denote a sound
knowledge of fleeing lines and visual appraisal, an unlimited freedom subtly
emerges and culminates in remarkable colors.
Converging
oblique lines, outstanding streaks that may be easily regarded as spatial
vectors, rest on mostry cold colors and a touch of warm hues.
Marcellux’
paintings have the strength of definite shapes, as if the artist were striving
to display a concoction and later
extinguish that passion resorting to a high pitch overlapping, a kind of
frankness and liberation followed by the need to perform his duty and against
his wishes, attenuate an underlying sentiment that represents his aesthetic
legacy.
In the
painting enterprise, both the sensed color and perceived image involve the
earnest wish of creation. “However, I attempt to counterbalance those moments
with the powerful flow generated by shapes, colors and paint brushes. “ says
Marcellux.
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Pictures taken at Marcellux's NY 2002 expo. At the background you can see the paintings "Volcano's eye" and "Thor's power" that are shown in the site.
More photographs from NY2002
More photographs from NY2002
More photographs from NY2002
More photographs from the expo |
| 7. Comments by gallerists and other VIPs. | |
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"In view of your exhibition, the overall response to your work has been
very positive. People responded well the color and fantastic compositions as
well as the content of the work. We really enjoyed having the work in the
gallery."
29 Juyl 2003 , Angela N. Di Bello, Director of Agora Gallery (Soho/Chelsea New York City) after my NY 2003 expo |
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| 8. Marcellux by Marcellux: Self Biography | |
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Painter, sculptor, writer, confessed hedonist, and fan of Leonardo Da Vinci. In that strict order. Certain people call me "artist". The definition belongs to them. I don't assume any responsibility for their believes. I am only a person who impregnates colors on the canvas and enjoys deeply when the result satisfies my desires. I am not a disciple of the goddess of arts, but from the epicurean way of life. My work starts as an intimate act of happiness when I look at a just finished work, and that evolves into an irreverent exhibitionism, when I expose it and share the experience with the public. What I do is not art, it is pleasure in its maximum degree of purity.
As a permanent characteristic of my personality, I must manifest that I've got the frightening habit of living my life too seriously. In order to increase what has been said, I commit sometimes the worst possible offense against myself and my neighbors that is the borgian
(*) sin of having in my life some moments of anguish and unhappiness. I declare myself guilty. However, I try to compensate those instants with the energy flow that emanate from the frames, the forms, the colors and the pencils. As a matter of fact, I should have to say that I started to paint in a preterit date (which I have forgotten, as I do unconsciously with all the facts of life that don't get me feel closer to happiness), just because I had the impulse to do it, and that I've been doing it since that day.
(*) I use the borgian allusion, remembering Jorge Luis Borges, the writer, who said "I have made the worst sin of all: I
was not happy (in my life)" do not confuse him with the Borgias from Italy. |
* Int' Fine Arts Exhibition - Neoria public exposition Center- Crete Island, Greece March 2003
* More images from Greece 2003 Neoria Expo
* More images from Neoria Expo |
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9. Marcellux:
Latest Exhibitions (2005-2000) |
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*"Artenarede no Castelinho" Exhibition. Organized by Artenarede Museum at Pontevedra Com. Center - Jan 7-8, 2005 Nova Friburgo City, Brazil..
* "Intensity & Introspection"- Exhibition at Agora Gallery -Soho New York , NY -Nov 12 -Dec 4 2004
* "Exposelva" - Exposition at ROC-BCN Galeria Studio (Cristina Rogers' Gallery)- Barcelona, Spain July 25- August 16, 2003
* "Abstractism" - Exposition at 415 West Broadway Street, New York, NY July 1st 2003 - July 22nd 2003,
*Grand International Art Festival- Int' Fine Arts Exhibition under the aigis of the Government of Hania, at the Neoria public exposition Center- Crete Island, Greece 15-30 March 2003
*"XXX
Aniversario Batik" ("Batik 30th Anniversary")- Exposition at the "Sala Barna" exposition
center. Organized by the BATIK ART GROUP. Barcelona, Spain -Feb 24th to
March 14th , 2003 *Marisa Guardiola's Art Gallery - Segovia, Spain. Feb 2003 Exposition
*Omma Center of Contemporary Art. -Crete Island, Greece. Nov 2002 Exposition
*Member of IAC. International Art Collective (Amsterdam-Holland/Catalunya-Spain)
*Agora Gallery Soho, New York, NY Aug 2001- Aug 2002 Permanent Exposition
*"Influences & Innovation" Exposition at 415 West Broadway Street, New York, NY March 31 2002 - Apr 14 2002,
*Agora Gallery Soho, New York, NY International Art Competition March 2002
*The Ninth Life Fine Art Gallery.- United States Virgin Islands Feb 2002- Feb 2003 Representation and Exposition *2001-2002 Permanent Individual Exposition at Artnet.com, (considered perhaps the most important Web Site for Art Galleries in the world.), using the space provided by Aardvark Fine Art Gallery. 23 works exposed. *Aardvark Fine Art 2002-2003
Agreement for Permanent Exposition *Summer ArtShow at Galeria
Zero Canvis Nous 1 8003 Barcelona Spain *San Francisco
International Exposition at San Francisco's Concourse Exhibition Center Ca. *International ArtExpo New
York at Jacob Javits Convention Center New York NY *Art Show at Artesanos Art
Gallery. 3137 Salzedo St. Coral Gables- Miami Fl. Marcellux has also got permanent virtual expositions at some WEB
galleries as: Elmundoarte.com (Spain), Arteycreatividad.com (Spain), Artenarede.com.br
(Brazil) (This is the web site of Artenarede Museum in Brazil.),
arteplastica.com (Brazil) and , of course, Marcellux’ site. |
Some of the Directors of the Gallery discussing about my work at NY, July 2003 expo. , NY, July 2003 expo.
Barcelona March 2003 Expo at Batik Gallery: Some of the paintings exposed. The painting in the upper-left corner (Moebius strip Opus 1) is actually part of the permanent collection of Artenarede Museum (Brazil) |
| 10. Art Books | |
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Marcellux' works appear in the following Art Encyclopaedias: "Encyclopaedia of Contemporary Artists" 2003 edited by the QCC Gallery of New York & Queensborough Community College - The City University of New York "The Grand Book of Art" 2004 published by "Ediciones Institucionales" Buenos Aires, Argentina |
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| 11.Museums | |
| Marcellux' works are part of the collection of Artenarede Museum (Nova Friburgo- Rio de Janeiro state- Brazil) |
___________________________________________________________________
12.
Dialogs between Pablo Villar Mariscal (Spaniard Art critic) and Marcellux about
his work.
M:
(refers to Marcellux)
___________________________________________________________________
I)
Dialog
about Marcellux’ world
P:
"Own World?” What does it mean?
(Note: "Own World" is
an acrylic painting included in "Patterns" serial)
M:
I wanted to make a representation of one of my internal worlds, so it is
(one of) my own worlds. "World" in this context means
"fantasy" more than planet. But that doesn’t matter at all. What it
is more important is what people feel when they look at it. Many people have
told me that they see fire, energy, power, movement and the representation of
natural forces. All of these viewings are all right.
P:
I see that your picture is strong but not violent. I think that it
contains "cool passion", like when you embrace a girl: there is
sweetness and passion. It’s like a blues, peaceful but passionate at last.
Maybe it’s like watching the sea under the moon. I must say that I
"feel" your picture in a strange way.
I have a question. Do you think that "cool passion" is
possible? When I say "cool passion", I mean something cold,
self-contained. The colors seem to respect their environment without hurting it,
fact that is not typical of Mother Nature, which invades wild everything around
it. It is true that there are energy and impulse and that is what looks amazing
for me, the fascination of the passion that lightens, but at the same time makes
me feel harmony. Your paintings make me nervous, (in the positive meaning of the
world), because I see a challenge to perception.
That's why even I appreciate your definition of art as a language by
itself; I think that the author's word may illuminate the viewer into his search
of the path, the process of the creation. My question (and forgive me if it is
too pretentious) is: ¿Do you believe that is possible the "cool
passion", the "moderate impulse"? ¿Shouldn't men be submitted to chaos, the chaos of
their own world? ¿Can they control it?
M:
I'd like to tell you that "cool passion" is not a word that I
use. In fact this definition belongs to you, but they describe very well the
core idea of my work. Ancient Greeks used to ask their gods for a "freedom
from love". What they meant, is that they wanted their gods to free them
from the unbearable passion, (what it could be seen as the way people during
Romanticism thought love should be), to be able to think about and enjoy the
true love, which they saw as "prisoner" of the shell of the
superficial passion. For them, love and passion were attributes equal to a good
spirit, which is best flavored in state of contemplation. This concept has been
converted into a visual language in which I have tried to show one own vital,
energetic, noisy world, but at the same time, one centered, quiet and
self-contained world. These two antagonic concepts have been placed mixed in the
visual images of my paintings. I don’t know if I succeed in this task, but I
must say that many people has said that they "see" something difficult
to explain, but that makes them feel an internal state of excitation.
(Note:
The dialog starts now analyzing the concentric serial of digital paintings and
compares it with the "Patterns" acrylic serial.)
Coming back to your work, I'd like to say that the "cool love"
(as a metaphor of Concentric) doesn’t evolve, it is not symmetric nor lineal;
it’s the core matter of your world (and perhaps mine), because the is nothing
more universal than individual things. I think that cool love is not rational
even though we use our intelligence to talk about it. It is just like the chaos
that you have drawn. (Note: It is a reference to
"Chaos", one of the paintings of the "Concentric" serial)
This Chaos is
ordered, it's an ellipse, because... there are something behind the canvas, in
the bottom of life, something you feel and that your mind calls
"Chaos", the origin of fear and the agony that implies life; the
unknown matters...
You build and
destroy your love, your world. You
talk about a future continuous and cyclic, maybe absurd, the chapters of life
one after the other...
I think that
you have painted your internal world before in "Own World" (Note:
from de "Patterns" serial). Now thanks to the mixture of visual
languages, you have got to draw your life. I think you see a cold breeze in the
chaos, a question, a destiny. Your being is clearly hungry of your world, of
your destiny, of your cycle. You have an obsession with life, but I wonder... Is
there any other thing that could be more appropriate to obsess us?
I have a
question in mind... What are there after the build up and destruction of your
love? Eternity? The physical integration with the universe (because energy can't
be created nor destructed)?. Life is concentric but there is an end. That is
linear.
I don't see an
end, a finish in your work. Where is your end? Is it in that wagon that Hopper
painted (with the passengers frightened inside)?
M:
What you say is true. It is amazing for me that even you use other words
different to mines; you are able to understand the main ideas of my work in such
an erudite way.
What is order? What is Chaos? Does civilization advance with the centuries?
Are we now more "civilized" than the stone-age man?
Is technology synonymous of civilization? Is our life better than it was
in the XVII century just because we’ve got electric machines, for example? Is
life a fridge and a video console?
These are some of the doubts I've got. The circle and the concentric
concept mean "more of the same". All the time come to us messages that
say that humankind advances with the centuries, confusing technology with
evolution.
"Own World" doesn't evolve, as you say: it only changes and
mutates all the time, but at last, it is always "more of the same", as
life is.
P:
I believe that individuality hasn't changed, and that's important for me.
Men feel and dream like they did yesterday, and as Shakespeare wrote, "we
are made from the matter of our dreams". "Life is a dream,” Calderon
said. We are dreams that dream and that will never change.
I think that
is the hart of your work: The organic dream surrounded by the cool love, the
self-contained passion of the destiny submitted to the hurricane of Time.
In both
"Late 90's" and "Patterns" serial there are also new
concepts, which I'd like to enjoy peacefully. (I'm particularly interested in
"Triancolors"). I think there is more omniscient impulse in them. They
are more premeditated, your mind was less overwhelming but more pragmatic, as if
you had found realities that you already knew, and that now, you’d like to
capture in the canvas.
Anyway, I want
to "penetrate" into them.
___________________________________________________________________
II) Dialog about "Relativity"
(acrylic from "Patterns" serial)
P: A painting
that really like is "Relativity", because it "lightens", it
irradiates electricity and human heat. It reminds me a bit to Sam Francis for
it's organic quality. The work seems to be alive, as if it were breathing. Why
"Relativity"? You seem to show some formulas, some puzzle...
Changing the
matter, today I entered in a forum about art and I saw a question that seemed to
me fascinating. The main point of discussion was: Is it necessary the
philosophical support for painting? They talked about Kandinski as a theorist,
and they wandered about the painter versus the philosopher. I think that
painters can't just be simple craftsmen. I like your work because you paint your
Internal Words and you don't limit your art to "beauties".
In the other
hand, I believe that we have to run from excessive intellectualism. Woody Allen
says something I love in one scene of "Manhattan". More or less he
says: "The brain is the organ most over-valued. Important things must enter
from a different point".
I mean:
Painting must be pointed towards feelings, perhaps even before it is pointed to
the ideas.
Coming back to
"Relativity": which idea do you think that is more important:
Relativity as a physical concept, the space and time as a curve, or the organic
impulse, the inner feeling of that space and time?
M:
One thing I find interesting of your critics is that you use certain words (as
"organic impulse") that are not mine, but reflect very well the main
idea of my work.
By
the way, I must tell you that it would be very schematic to do all the works
with the same criteria. This is art and not a work made by an accountant.
That's
why there are works in which I start with a main idea and I try to develop it in
a Visual Language. The main point is then how to tell a story using a visual
language. "Own world", "Relativity", "Math path"
etc. are examples of this. However, It would be very boring if all the paintings
would be like this. There are some other paintings that are based on the
"organic impulse", as you say, in the flash flood of life, made just
because it's alive...
________________________________________________________________________
P: The first
thing that I'd like to thank you is the chance you've given me to analyze your
work, because I believe that you open the doors of your soul, that way, and that
is fascinating, because I do it with you (Your premises are indispensable for a
truly approach). I think your soul is vital and you have very strong abstraction
skills.
You
practice several visual arts. Can you tell me something about this fact?
M:
I have tried several visual languages in my life. I personally started with
sculptures and painting. Some years afterwards, I tried fusion glass, digital
art, and lately computer animation. There is some times when I want to paint,
some other times I want to make a sculpture, and sometimes I want to draw with
the computer. I use the technique that most suit my mood in a particular moment.
This makes me feel good from the artistic point of view. To be able to express
myself in a wide range of ways makes me feel comfortable with myself. I feel
that it expands my possibilities.
P:
Let me tell you that I appreciate your use of several visual languages. I
think that Visual Artist don’t have to be just merely "craftsmen",
but poets. They have to be able to express the meaning and the feeling through
all usable media: painting, animation, the computer, and a word...
I have seen
your page of digital art and it looks interesting to me. I've seen your serial
"Concentric" and I have downloaded it in my own hard disk to meditate
about it and enjoy it peacefully (as a good wine).
It seems to
have certain mannerist touch, by the mysterious shape of the spin. (The
"concentric" that names the serial) The circle (as Jung used to say)
talks us about our ego, about our own identity. That circle remembers me the
eternal return of Nietzsche, The continuum of matter as the core of matter of
Spinoza, that is: Our simple anxiousness of immortality.
The first thing that impacts me from the serial is your second portrait "Chaos". I think that spirals are very particular shapes, which imply a position of internal force that degrades towards the outside. It is like an unreachable nucleus that maybe opens doors to the eternity. I think that your serial talks about the building up of a world, from the Bereshint (Hebrew word that starts the Bible and means Genesis, start) to the night, to fall, the inertia of life that ends the universe creation itself. You know, the expanding universe is inertia; life fighting against death is inertia. That’s why Concentric reminds me to a very special story of the creation.
M:
"Concentric" serial, makes reference to life, to the vicious circle of
life, the eternal cycle of life, growth, fall and death, which cause a new life
that repeats the cycle. Life is concentric. It moves round a natural axis, as if
it were a vicious circle. We are only passengers in the train of Mother Nature,
just like a rose that navigates slowly in the waters of a powerful river and
falls in a turbulence, where it starts to spin round and round for ever. That is
the way were life works: just because; because life is that way, even if we like
it or not.
P:
Your work "Chaos" drives me crazy (in the positive meaning of the
expression). Why is there so many kinetic, and those cold, spectrum-like colors,
at the same time?
This
talks very well about loneliness, of the mystery, but.. Why so much loneliness?
You
start the serial with a mosaic of colors that remains the Big Bang, life
emerging, the essence in its initial state. And now comes the cold, and however,
it carries the movement, the mystery...
After
it you introduce energy, fire and passion; reds and more reds, in a pure state
but incandescent. Your serial reminds me strongly to a symphony, maybe
Stravinsky, with his consecration of Nature.
I'd
appreciate if you could talk to me about "Chaos", because it is
mysterious, it makes me feel unquiet, it scares me... It is chaos, but that
seems to be only an attitude on misunderstanding of frame, the environment, as
if you knew there were something but you couldn’t define it. Do you really
"see" this environment?
M:
There is nothing more frightening that the facts that you can’t define. Chaos
scares and frightens because you don't know what it is.
It
looks familiar but not; it is not.
Lightening
and storms are chaotic for salvage Indians that looks at them in the middle of
the wood, but we (modern men) know that they are only natural forces. There is
no Chaos. No magic.
In
the other hand, you talk about cold and then reds, lots of reds. In the
beginning there was nothing. Then it blew up, hot, very hot. It is expanding
itself since that moment, and now it gets colder, and colder... and colder...
We
are just beggars that wander in a Universe that gets colder... However, it is
alive. Here interacts the concept of "cool love" that you always cite.
Here there are vital movement and history too, but we still get colder, and
colder...
P:
You talk about contrasts, your paintings show restraint vitality, the spiritual
force guided by... Intelligence, Consciousness?
It
seems to be the coldness at the end of the impulse, a universe that gets colder
and colder, that gets more homeostatic, more rational. Life, the organic flame,
the wish of immortality is shown in the paintings. Death, the limits of that
explosion of love end in the rocky shapes of a death blue... You are dieing!!
Shouts the painting. You live in a universe that dies a bit every second! There
is desolation.
Then
comes Mother Nature, and you show a painting full of illusion, of fractals, of
symmetry. Isn't Nature Chaotic? Why are there those colors so organic but so
monotonous? Maybe Mother Nature does not represent life, but a consciousness of
death...
Is
there loneliness in your paintings? The lonely man of Pascal and the supreme
truth... WE ARE DIEING...
You
talk about beggars that are getting colder. It is the final inertia of your
serial. I suspect it hides an intention, a chance of Creation (from the natural
to the personal and intimate) to survive to that freezing. The inertia makes a
rebellion against death. There is anxiety in the inertia, in the integration of
life in the process, a heating wish to get warm forever.
_________________________________________________________________________
P: Your animations look interesting to me, but I must say that they shocked me at the first moment.
I
see in your animations a genial combination of two aesthetic languages, a static
one and a dynamic one. The paintings were wishing to have life, and you have
given to them. Now they have palpitations like a hart. The paintings build-up
and destroy themselves in a continuous interaction. I'd rather say it is
concentric, as your "concentric " serial; the never-ending return, the
cycle, the constant.
I
also see geometry in your animations, fractals... Maybe that means the own
(internal) world of the painting? (Note:
Pablo here plays with the concept of "Own World", acrylic painting
from "late 90's" serial)
M:
Animation is another technique, different from classic painting. As you say, my
work in this field is the fusion of two different visual languages, the
synthesis of static and the dynamics.
We
are used to see and judge static views. It is easier, easier to understand.
The
question is: How can we understand the movement? Where do we go? Where do we
come from?
We
had talked some time ago about the idea of "cool love" related to the
painting on canvas. The question is: How does cool love evolves in time?
Can
it be imagined as something symmetric, lineal, and predictable? I think it
cannot.
Although
some paintings on canvas like "Own world" have been made some years
ago, the animation was made this year (Note: 2000 year). This means that we've
got here the fusion of two ideas:
In
one hand, we've got the concepts of self-contained love, and cool passion, that
we shared when we talked about the painting. These concepts are now mixed with
the concepts of concentric cycle of being that come from the
"concentric" digital art serial. You are right when you say that.
Remember that this serial is very recent, because I've made it this year. That's
why their core concepts are still flooding in my mind.
In
other words, animation is a new perspective of the cool passion described in the
paintings, seen with the eyes of the natural and concentric qualities of being
that I am experiencing at this moment. (In fact during this year)
Images
build up themselves from the chaos, and they return to it in the same way. It is
just like life itself that is just a non-permanent fact in the never-ending
development of universal chaos. The self-contained passion comes from chaos, and
remakes itself from the debris of the vacuum, the non-existence, to develop a
shape from the horrible debris of uncounted earlier states. This is just like
our passions, which are born from the pieces of our earlier ecstasies,
catharsis, importunes and circumstances in a circle without start or ending,
which we are arrogant enough to call "Being".
_________________________________________________________________________
P: I keep on looking at it
("Triancolors")... It's a mystery. Plenty of harmony, premeditated,
simple and perhaps with a world behind. Are they only colored triangles? I am
also fascinated by "The vortex". It seems to be a blue storm. Which
relation exists between these paintings and your search for a deeper
understanding of life? Is there any relationship between the quiet
"Triancolors" and the passionate world contained in "Own
World"?
M: "Triancolors" may be seen as a
very simple painting, or a very complex one. Is up to you.
It represents life itself shown in a visual
way. As you say, you can see just colored triangles (a minimalist, naïf or
kirsch look, if you want), but it also can be seen as multiple parts that match
together and are fighting to their will to make an interrelationship with their
closed environment. (That is indeed our own environment, the real and the
subjective ones)
The strong and pure colors predominate in
the landscape, but we also have lightening greens and reds, that emerge in a
vital way and try to get some kind of domination over the others. However, each
color is confined to it's own space (as family, work and home are)
Isn't life that way? We desperately try to
put colors to our activities... However, they keep on in their space ,
constrained to their own environment.
Triangles are all the same and all different
at the same time. In some way, they are "more of the same". (We have
talked before of the meaning of "more of the same"). In the other
hand, they are all different from each other, meaning "change, breaking the
structures".
As you see, the concentric meaning of time
can be seen in many of my works, and keeps on emerging (like a ghost) as a
pendulum; elliptical idea, each time you want to scratch in the symbolic
meanings of my work.
P: I must say you are right. People live in
jails. They themselves are their own jails. The triangles are like a game with
identities as players, that are eager to conquer the universe, the eternity. Is
“Triancolors” an insatiable feeling of thirst? Thank you to have created
something so marvelous.
You
talk about colors that survive independent and pure, limited by space and time.
I agree. It is the game of identity, the origin of pain and love. Universal love
is just a personalization of the world: Everybody feel like me...
Pain join lovers and friends, and the greatest pain of two lovers is the
kind of loneliness that Pascal described... "A Man is a being condemned to
loneliness". The sorrow of the lovers starts because they realize they are
not able to be the other one, or just one and be shared... The sorrow continues
when you realize that you can't have all good things of life without all bad
things. You can't have an image, but a world. Your consciousness is hungry of
eternity, of being. The triangles are different but they share a particular
tragedy, they can't be larger than 180º. They are limited by nature.
Human Beings want their personal identity
and their global identity as "members of the world". All or Nothing.
You talk about "more of the
same", but that is the essence of identity, the cause of the matter...
"To be or not to be". That is the great question that has always
tortured men made of matter (the matter of dreams, a Hamlet himself). All or
Nothing.
The competition to predominate as
consciousness, the continuous going by of time, the "more of the
same", are just fruits of our own nature, who believes we are the
"center of the universe".
Ego?... Maybe. In the other hand, without
ego there is no universal love. Could a perfume, a smell love someone? Could you
love something that couldn't be seen as a person? What make triangles able to
love each other is their shared misery.
M: In the Triancolors' animation, the
triangles succeed and they finally break the shape that contains them... And
everything goes to hell... The order is only set back when the borders, the
shapes, are put again.
(Note: Triancolors and Triancolors'
animation are part of "Late 90's serial")
 Marcellux’s
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Last Update: March 2005
