MartinLlamedo

ILLUSIONIST PROCESS

The longing in these paintings is to ensure that duality becomes present therein. This is: apparently determined by the eloquence, as naturalism, figurative, the concrete represented, the Illusion achieve to transform that in the inconcrete, in the immaterial. The inmaterial is the irrepresentable. That intangible, underlying and only within the framework of the whole work, this has to be seen by the viewer, creative. In this way, naturalism with the immaterial, supposedly antagonistic produce a dialogue in tension in this kind of pictorial illusion. Finally or illusorily, the mimesis, will be the way for the immaterial.

In a painting (illusionist), the creativity of the viewer (illusory) is acting against the crisis generated by the Illusion, pictorial. To make this happen, he must achieve a state of contemplation and amazement, so that form it should be perfectly realized, ceases to be such, dematerialize and find their own time. The illusion was largely fundamental part to the origins of Western thought divided humans in intellect and sensitivity. Today we found a man who believes that thanks to his intellect access to the truth, averting his nature. A man without God, and which ironically is more sensitive than ever, is a fully visual being and finds his faith in it.

How to make that the modern man contemplates? How to make that him will not miss his creativity? How to make his human side will not miss? How to make him believe in the illusion? How to make this true, and its truth does not have answers? This would again express doubt in matters apparently for contemporary art already overcome. Better yet, do so from the tension between past and contemporary, so we can find, illusorily, a specific place today to the illusion that has given us so much throughout history and still does.

By MARTIN LLAMEDO

Music Box

The daily use of the word “illusion” is displaced from a positivist view because it is said to refer to something that would not have a “true reality” and is the result of a deception of the senses. But projected into the future the term designates “hope whose fulfillment seems particularly attractive” and is also illusion “complacency in a person, thing or task”. Then it would be abnormal sensory perception of a real stimulus. This instance of health care based worthy considers the delicate illusion caused by abnormal irritability of the sensory centers of the brain cortex by drugs or drug intoxication, by suppressing them or lack of sleep.

Despite such pathological reification of everyday life, Martin Llamedo disbelieving wants to know, as a producer of images, about the illusions that generate languages (scenic, visual, linguistic). Calculates -but the words would be, “he deceive himself” – to see the distance between what the viewer sees and what he thinks he knows, what illuminates the image and the image awakens desires. . “At first, I will say that the illusion to which I refer is presented as an image or representation without true reality suggested by the imagination or caused by the deception of the senses,” says Llamedo. Knowing that the image is an illusory map, thinks of the form of the constructed illusion that underlies representation as the magic moment of the he calls “Illusionist Pictorial Process.” The Illusionist Creator, is who produces the pictorial mechanisms (creative, painter, would be the first instance to reach illusion). In that search it has three instances: “The Illusionist Creator, The Illusive Painting and The Illusive Viewer”, thus written with a capital letter. The illusion then it would be “an ideal to get, and perhaps there may never be a second spectator or maybe the painting get another desiring viewer besides from me. Thanks to this, my pictorial illusionism will always have a search “, he says.

Llamedo discusses in time through art with Kant but -while the German philosopher focuses on reason- this painter seeks the mode to explicit through the act of paint and get to things that you reach through faith as a spectator. Kant considered in the Transcendental Logic to the transcendental illusion and called it transcendental appearence, deception necessary of the reason. He believed that it is possible to expand the scope of understanding limited by the sensory experience, to the knowledge of things in themselves giving to the principles (transcendental) of the knowledge a transcendent use. Instead -with art as a tool of search- Martin Llamedo looks for an Ariadne thread because he wants to understand -and create the worldviews- expanding beyond the reason and seeking the image of an integrated being. He considers necessary to jump with art the trap of rationalism that everything wants to contain itself. Llamedo moves inland landscapes, urban, with lots of theatrical and his search seems to look to the gloom to gain experience of the illusion with the delicacy of one who dives into the dark and the sounds of a music box. Perhaps Vermeer, Bouguerau and Sorolla have tried it to represent the light and slight and measure matter, but this is not sure.

By JULIO FLORES
Dean, National University of Arts, Buenos Aires, Argentina. Artist. Professor.