THE WASTE BLACK

ROOM 1
Seven inverted wooden crosses, an allegory of the seven deadly sins, brutally crush large 100 x 70 drawings against a base of pagan ornamentation. The aim is a reflection on the impossibility of representation, on the absence of certainties from which to think the world. The white 100 x 70 sheet will always be the refuge of our memory, the vessel into which we pour our experience, even if it is an experience and a memory that are totally crushed and scorched, and thus completely annihilated. The Crown of pencils is made up of 180 pencils, of 180 instruments of artifice with which an attempt has been made to represent the world; they are the testimony of useless sacrifice.
We cannot represent the world because we are no longer capable of recognizing its form. The three studies for La Mort du peintre are painted with charcoal and ash, the final stages of the combustion of matter, matter which in its last possibility still has the capacity to generate the stroke, to configure, to give name. They are images stained with semen, it is the definitive self-portrait.

ROOM 2
They are (intended to be) portraits of Jesús del Gran Poder and Christ of the Blood. A representation of a representation that, in the process of constructing the face, suffers a rupture that opens the abyss of belief; we can now only recognize the crown of thorns and, from there, certify the impossibility of making an image that coincides with oneself. The face becomes geometrized, the rational grid dominates the surface and establishes a hybrid link between two antagonisms: between the world of thought and the world of passion. Ultimately, an image is nothing more than a clot of uncommunicated experience. The columns crush the faces. The faces have horns, and the horns are fossilized desires, a compact of the unfulfilled, of frustrations. They are columns that support nothing, only crush faces (self-portraits) that can no longer see, that have lost their capacity to see and therefore their capacity to name.
The sacred is no longer things, but the revelation of oneself in things.

ROOM 3
The series L’arbre de Piet aims at an approach to the theoretical environment of pure abstraction. The sacred tree upon whose branches the reflection is articulated that will lead the object to the zero degree of its representation and, therefore, to its definitive dissolution. This is the fundamental dialogue between nature and thought. Once the branches of the tree have been ordered, only the hope of the landscape remains in the germination of the geometric structure, although it may already be nothing more than a scorched, barren landscape. And thus, flowers will only survive if they are watered with black ink that allows them to be represented again and again, ad infinitum.