'Experience teaches us that in visual perception there is a discrepancy between physical fact and psychic effect.'
A reflexive exercise in relation to the terms 'visual reality' and 'visual perception' is the theoretical foundation of this exhibition in which the internal struggle between the visual reality of the spectator and the passive gaze of our age is confronted by an analysis of the pictorial field based on perception. This begins with the identification of the canvas: its visual characteristics stimulate the senses in a process of transduction executed by our unconscious.
Perception is the first knowledge we have of an object. It is taken from impressions that communicate to our senses. Coleridge coined the term 'Suspension of Unbelief', meaning the viewer's willingness to set aside his critical sense and ignore any incoherence or incompatibility in the piece he finds himself immersed in. Suspension of unbelief allows the viewer to go deeper into the fictional world represented in the pictorial work. When we delve into this concept, we break Diderot's so-called 'Fourth Wall' and begin the process of understanding an apparently abstract pieces that manages to move us to a world unknown to the human senses.
Both Din Matamoro and Alan Sastre create fictional realities whose appearances do not reflect the intimate character of their work since their forms, tonalities, and illumination dissipate under deep observation. Din's pieces project the energy that exists behind the painting: the gaze penetrates the piece, leaving transparencies and layers visible without returning. Alan Sastre explores the zones of friction between abstract and figurative reality and, plays with the psychic automatism of the unconscious, making us believe that we are seeing something that really doesn't exist.