Purple Circle on Pink - Artwork by Fernando Daza

Description

His work reveals the fruit of a process of personal meditation based on the exercise of mental observation. It turns … more His work reveals the fruit of a process of personal meditation based on the exercise of mental observation. It turns artistic work into another practice for the evolution of consciousness, just as, in the opposite sense, it makes the contemplative experience an exceptional resource at the service of the creative process.
The result is a work of meticulous realization, very stealthy and precious, where, in meditative attitude, cut and cut the paper manually and then paste it on the raw cloth or cardboard, as a three-dimensional coating. The light projected in a zenithal manner reveals a surface where the play of the cast shadow makes the work vibrate in a spectacular amalgam of visual textures.
As for the structural aspect, his compositions usually involve a methodical and Cartesian scheme, which denotes his preference for calm, order, sharpness, purity and accuracy. The plastic work reflects the purity and calm of the original white of the papers, free of the noise of the colors, in a collection of monochrome and three-dimensional works, where the maximum aesthetic importance is in the subtle vibration of the visual textures caused by the contrast between light and shadow.
Daza's work is characterized by monochrome. Persists in the use of only one color. It only craves to use light and its incidence on the three-dimensional surface to create a fascinating vibration of visual textures. The paper that he uses plays in his favor, his matte finish and slightly rough, helping to achieve the effect that he insistently seeks, to capture the light and reflect it in a myriad of tones within the same chromatic field.
He uses the colors of paper and faces with special interest black and white in the diptychs, works of adverse halves that provide great strength, which contrasts with the subtlety and simple nature of paper. It focuses on the one hand on strictly Cartesian compositions where the lines are purely defined by the clean cut of the cutter and ruler. And on the other hand, in other compositions he tears the papers by hand and sticks them in an orderly manner on the canvas, following a monotonous and repetitive methodology, which justifies the result of the process. These irregular lines produced by manual cutting, make up the three-dimensionality that characterizes mainly these works. less