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Image rights: Courtesy of ADN Galeria and the artist
From the series "Livre de Brouillon" These works on paper were compounded in what the artist chose to call the “Livre de Brouillon”(“draft”in French). From there he named the archive that now gathers its loose sheets and that reminds -ironically- of something they are not.
At that time, the second half of the 1980s of the last century, Carlos Pazos used to tear out the pages from the notebooks. Those sheets were indeed white, and he used them to write down his ideas with more (or less) concretion. They can be considered small format artworks. In any case, to Pazos they are ways of catching feelings, memories and emotions that, with a fleeting and insistent obsession, appear on the screen that is his mind. They are not “sketches”, nor true drafts. At times, some concepts like colors can become constructions or climatic pieces of greater volume or size. As the artist sometimes say, his work is not evolutive but circular. If we revise from a further distance, a lot of confusion-confession-passion can be spotted, albeit formalized in a very different manner. What they have in common is the same permanent, repetitive and obsessive obsession. From the 1990s onwards he decided to keep the notebooks intact, and thus preserve the notes within them together. In 2011 he presented the journals as objects and he showed their scanned content projected on a screen. This happened in the show “Cookbooks” at Museu de l’Empordà, in Figueres (Spain). The title expressed the character of a laboratory or test area that these notes had.
About Carlos Pazos