Managing to reuse an old canvas, showing previously oil affixed light green plasters, I set a thick flat opaque enamel paste of pistachio green shades as background, gradually
proceeding with different layers.Then, it was time for the very first large, yet impulsive,
acrylic sand saturated paintbrushes to emerge. I noticed that both sides that started the entire creative process, in the very first place, were casually born.
Here's exactly where the graphic process itself starts,
moving upwards from the bottom, constantly matching colors within both sections.
By the way, it seems like sometimes the drawing is recalling foregoing elements;
sometimes, it seems like it wants to completely break with those instead. So,
basically that's it, all the way to the top.
The whole painting actually consists of a very large drawing,
that (except for plasters and the background)
has been made thanks to a tiny little paintbrush plus acrylics. It took me almost
four months to be completed, not really have been working at it constantly
(but frequently,that's for sure), and I think that it has ended up enclosing the spirit of what I actually wanted to propose in the first place:
I'm talking about the one that made me create something new every single time, just like being consistent right inside the inconsistency itself. This
experience comes all the way through my need of always looking fresh, as in always
different; it also stems from the desire to avoid the fact of being caught up inside daily
This painting maybe represents a resume of kinda everything happening in all of my works;
everytime I manage to finish one, I usually start over with a totally different one: as in " a brand new one " .
The small rod off hanging in the air, is the one that actually gave the pretext to rename the painting, because:
out of everything surrounding us,loneliness cannot exist or, at least, it can be chosen as vehicle of re-appropriation of our own identity, outside everything.