This project consists of a series of circular pieces, in oil on linen and gold leaf,
distributed randomly along the wall. The dimensions of each canvas vary from 120 cm up to 40
cm in diameter. On a side table you can see an enclosed copy of T.S. Eliot’s poem "Four
Quartets", covered page by page with gold leaf.
On each one of these supports can be observed a figure realizing different actions around the
evanescence and passage of the time. Approached from a simple and almost absurd code of
gestures (a walk, the contemplation of a burning match or the pouring of liquid, etc.), these acts,
each treated as pictorial instants, both technically and conceptually have been tropes of
traditional painting, as they signal to the paradoxical connotations of permanence that Painting
has, given its impossibility to represent a real-time event. All these concepts (reality, happening,
representation) have been problematized in the recent history of painting in relation to other
media (photo, video, etc.), and in general they are themes that inform all my work.
In this particular case, and because of the changes in the length and direction of the shadows of
each figure represented, the work as a whole can be read as the formal dislocation of a sundial
(hence the reference made by the reflective gold surface), or also as the disarticulation of one of
the main problems inherent to pictorial language: the continuity of anything happening.