Before words, there is silence. Before silence, there is thought. Image is both silence and words.
Gradients, lineal structures, hard-edged flat surfaces, fundamental geometries, pain- ting as installation. The spirit in Arzuaga’s pieces is the prelude to an exploration of what matter can enunciate about the image; to the restlessness of apprehending a truth; to the act of making a statement. Geometry is not the point of departure, but that of arrival.
Arzuaga’s pictorial language returns to its most traditional elements: oil, linen, and brush. Light breaking down in color; visual perception; visual fixation of the image that comes back as a “memory” of what has just been seen. His pieces create ways of diving into perceptive possibilities through the use of light and technique. Simple struc- tures that appear as contained reveal to the eye. The image returns.
One of this series presents desaturated colors on white backgrounds. Horizontal bars contain the forms that appear and disappear – the seem barely painted- and thus generate a particularly strong vibration for very weak colors. Colors begin to vibrate thanks to Arzuaga’s exquisite use of isovalence. Sky blue comes close to gray and thus awakens; light drains once the painting is installed. The image moves.
Like a thunder that instantly lights the dark of the night, Arzuaga’s paintings capture an interstice that acts as a synthesis of the tension between two polarities: the open and the closed; the lit and the dull; the contraction and the sleeplessness. The surface opens up and the painting staggers in that minimum unit contained by precise limits between pure lines. The fold of the lines hides both a vacuum and the infinite; the image reveals itself to eye -sometimes as a form, sometimes as a sigh of the immea- surable. Gradients begin to suggest landscapes. The image happens.
Buenos Aires, May 2019