Carlos Medina. White Surfaces
“In his path toward the abstract essential forms, where fine art flows, Carlos Medina makes his own ambiguous zone between reasons and freedom.” María Elena Ramos, Veintiuno Magazine, Bigott Fundation, April-May 2007.
A Conversation between Carlos Medina and María Elena Ramos:
MER- The square is perhaps the most static of the basic shapes, but also the one that allows more derivations. It is static and at the same time, dynamic. You have used it repeatedly throughout your career. What does it mean to you? What do you get from the essential purity of its shape?
CM– For me, the square is movement, it is the integration of the circle and its squaring, and of other shapes in it.
MER- Let’s talk now about risks and challenges. The intense use of that square, and of the shapes that unfold from it, has its risks for an artist. A very visible one is the danger of staying trapped in the eternal exercise of the derivations from a modular shape, like a permanent student in the workshop of the teacher-geometry. But the day to day relationship with the square (both with its purity and its potential metamorphoses) also offers motivation and becomes a challenge to true creation. Here, the question is: How have you confronted the risks of the repeated exercise? How conscious are you before this danger? And, above all, how do you face the creative challenge, considering your point of departure is a shape that belongs to so many, that has been so well and so ill used, and that is so eternal?
CM- I establish my relationship with the square through the study of it, and not as a challenge. It is a didactic exercise where all the knowledge and the new codes of an eternal shape are integrated.