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This pictorial project addresses the concept of IMPERMANENCE through the study and representation of deterioration and destruction in architectural spaces.


The central axis of this series and of my work in recent years is impermanence. Change is continuous, inevitable and evident in all living and inert beings. The human being for several millennia and in different cultures has struggled to understand this mutability that we perceive and experience every day and that is beyond our control. However, it seems that we still do not understand and accept impermanence at all. We live with the longing for posterity, as if the objects we possess and the relationship we have with them could be maintained over time. We only gladly accept that change that we interpret as pleasant and we reject any change that has a connotation or an aesthetic identified as unpleasant.


Architectural spaces are an emblematic example of the complex relationship that human beings have with change. The cities in which we live and each of the buildings that we inhabit or visit were planned with a longing for durability and firmness. They were built to transcend time, to remain stable and be able to protect those who stay in them. However, nothing is permanent, the spaces that welcome us have their own history and change incessantly. Many times the change is so slow and tenuous that we do not notice it until its appearance is visible enough for us to consider it deterioration. Examples of this are moisture stains on the wall, scale on the bathroom sink, wear and tear on the furniture, and also the peeling of the paint on the walls. The aesthetics of these changes are present in front of us without our being able to avoid it. Representing these evidences of impermanence through pictorial art has the enormous power of making the forcefulness of the mutability of matter known and of putting us in the face of nostalgia and a disconcerting beauty. Precisely this series emphasizes and uses as a discursive element the aesthetics of the deterioration of the layers of paint on walls to generate a reflection about impermanence in everyday spaces, and question the supposed immutability of a pictorial work and the canonical division between realism and abstraction.


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