MartinLlamedo

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

The ritual of drinking tea is universal and historical, and that is why I chose it as my subject. Although the act of preparing and drinking tea might appear ordinary or banal — especially in Western culture — in some situations and cultures it carries enormous depth and meaning.
In the painting Tea an illusory female figure pours tea over a European style tea table. Frivolity and irony are manifested in the way that the ritual has been modified to include the image of a woman preparing tea on herself. This table — set for tea — with its fabric elements, forms the woman’s bed covered by sheets that envelop her. Her clothes are like centerpieces (woven lacework) demonstrating that this ritual is deeply embedded in her.
Sitting down to tea often mean time spent communicating with others: hence the four cups. But in this work one sees an illusory figure incarnated for just a moment, perhaps a memory that is about to be lost. Dressed in memories perhaps the figure is prepared to accept her destiny: her eyes, hands and body tell us about this. However, we also discern another person who completes this moment, and that person is herself, with her face hidden outside the painting, perhaps deceiving herself.
This single act of drinking tea manifests a simple truth: that we have just ourselves in life.

About

Nare II, Oil on linen 55 x 36 cm.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

The image recalls some Renaissance works of Leonardo and Raphael. (Attached picture).
The construction of the image has a direct allusion to the conical perspective, rendering the invention of this artistic movement itself. This means the image has a vanishing point central, of the Renaissance, in the beginning of the use of this system of representation. This can be seen very clearly in the floor.

She is in an old place. The doors and floor tiles made of small, mosaic tiles broken, prove it.

This woman is in a old, run down, everything is worn. Holds in his hands, gently and tenderly, like a child who looks fragile, a cut glass candle, sadly broken, irreparable. Everything that has been around over time.
In an environment where it appears to be cold, since their clothes-European bohemian-evidenced, just light a candle in their hands warm.
She tries to repair, "Restore" the impossible "over time", irremediable aging. However treasures within the inexorable truth, a flame warm, a source of life in his hands, as if he does not resign and holding still on the source of life and hope, but do not neglect to understand the passage of time as a part .. . and that it has even less beauty but full life.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Light fills the room, like in dreams.
In an aesthetic environment and own of neoclassic architecture Frenchified
She is with clothes that recall the early twentieth century, but it is contemporary design clothes

Her skirt expands on the floor as rooting
and in the foreground, his chair.

Time seems to have passed, being silent, watching from his chair to the light with patience, now finished. The light is cold and the temperature of the place is uncomfortable too.

Her shawl was left on the chair, when she stands up

Never will be shown her face

She stands up and analyzes to open the window or not, while still looking forward to ending her wait.
She approaches to the light

She will open the door? She will leave the way like she live? She still exists or only his warm shawl on the chair?

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Seeing the figure centered evident that while representing a dancer tiptoe is still something else. It is a metaphor of the effort, it is a metaphor of the dancers themselves. Also, her clothes recalls the own Baroque clothes, her skirt, her capelina, his posture. Thus resembles a Christian virgin, of the Renaissance. Here, the dancer would be generating an analogy, and being located closer to a place of holiness.
Recall that the principle of the dance was the ritual, and especially in the Middle Ages, practically dancing was associated with the coven. So, this symbol reveals indifference between magic, religion and faith.
This dancer, with her own capelina of a Vermeer, irradiated of light, and that seems suspended thanks to pointe shoes, which form an axis, like a music box, is not static. It seems like the instant conserves her movements, for the repetition manifested in the space for her arms. Appear unfocused those who are more distant, while those holding her skirt, are in focus, are resting, the others are transparent. A very soft, very slow, slow motion, as if the air around her, fans, it is intuited. But everything happens at the same moment, there is no temporal differentiation, it is illusion. But if it looks deeply into the arms "moving" are not from the front, like figure it is, are as if she were back.
This re-demarcate the overlay image as the background, does not understand the essence of spatial or temporal limits. Maybe, the work proposes a spiritual time. The whole image of the figure with its multiple arms, also reminds Shiva, the Hindu goddess, reinforcing the idea of undifferentiated faith as a religion, and as the bearer, the dancer, the artist.
It also makes us think of the images of Leonardo Da Vinci, analyzing human proportions, where the beginning of science located the man as a foundation and not God.
Is evidenced, a Gothic church. An image of central perspective in the composition and the similarity of the figure with the anatomical analysis of Leonardo, typical of the Renaissance, as well as representing the damero as the basis for the construction of the conical perspective, whose representation became massive in artists in the Baroque period, which lighting and theatricality of the scene, fits the idea. This means that this painting shows us a story of development in relation to the form of representation and faith, together. In a contemporary image, which seek, in a mode illusionist and illusively, not differentiate between temporality and spatiality, in favor of the essence: Illusion. Its title is, therefore, The Threshold, the border between the exterior and the interior, reason and faith, past and present, magic and religion, certainty and illusion.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Self-absorbed and in a deep introspection
She imagines herself or is actually wrapped in tulle
Naked and wrapped, packaged, remember and imagine

-His environment is constructed of essential, simple, soft elements, as abstractions-

Everything is fabric

Behind: herself, her duality, beautiful and soft
Resigned, the see in one of the two boards lined with crumpled linen.
A rhombus is drawn, which is closest to her. Let me be her mirror covered and useless.

Or just those are the walls of his prison fabric

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Everything seems to happen in a deep state of meditation. A state perhaps providing the opening to an environment of mental and minimalist construction.

They seem to float

The table is held by ropes. Nothing is unbelievable or unrealistic.
Behind, a crumpled cloth, a vacuum blackboard or a sail of his barge..

The union, ironic, join their clothes rebuild a silhouette that refers to a canoe.

Confronted, she does not want to look herself.

Everything is empty, in a place without possibility of moving, if not through her mind.
 
Because without balance they could not stand.

The blackoard shows nothing written, the sail will not move

Everything remains equal indefinitely

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

This painting proposes the union of religions, the no differentiation between them. One hypothesis could be: Faith is independent of religions.
Three figures, one above the other, they seem to be coupled, fused, and sharing their extremities, remember a totem. While the reclining figure, the lower, seems to insinuate a Christ.
On the floor the tiles enunciate drawings of crosses, which refer to Christianity, but in turn this totem is enclosed in drawing of a circle in those same tiles, own symbol of ritual and magic, predecessor of religion, as it is totemic.
Everything happens at the same moment (spiritual time), his arms are moved and are captured in the painting. The feeling of slow motion, of a retained time, entails the connotation, as if the figure fans the air, perhaps a bird.
Is evident in the representation of pictorial space the intervention of two systems: conical perspective (Renaissance) and a superposition of a two-dimensional abstract structure, which alters and distorts the image supposedly represented below. This responds to the spiritual time where everything happens at the same time, even the way of representing space-time.
To the theater is called in many cases: box illusory. The three figures have a bearing axis: dancer's feet on tiptoes. Recalling a music box (which seems to be sounding). So that both allusions make up the title of the painting, Music Box.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Apparently it happens in a forest in a swamp. It is getting dark, it is a moment in which the time slows.

On the floor, red earth, on the shores of a marshy river bed. one of the protagonists appears fallen, and their poor clothes shown dirty with mud, is a character in a somber tone, and receives less light than another -standing and accompanies him - and seems to merge with the earth itself. It is latent, as if everything was a product of his rest, his mind, or not, just this is happening.

She, standing, bright, and its translucency and stained fabrics with the same earth, illuminating the body at rest, as having its own light with a blue tone, as the beginning of the moonlight ... becomes conscious of seen herself, fallen, without light, poor, united and camouflaged with earth and understand that she must bring down a seed (which appears not shown, only the gesture tenderly as if dropped a caress to the body lying)

Should be planted itself and she do it! ...that nothing is over, that one more time she have to begin again, that life buried her but only for a moment ... to return to flourish, even more beautiful,

in her swamp.

Nare

Oil on linen 42 x 30 cm.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

The figure is reclined, pleadingly.
The violet color, can symbolize magic. (If the paint was inverted pictured would resemble the shape of a flower)

Her skirt is pleated paper, nothing fancy. Is her own imagination, whoever wears her, is a scenographer in her mind, build her paper world, a world of fragility, memories.

Appears on a platform, her floor, also of paper, as if she was a kind of sculpture or going to interpret a play, or better yet, is still life.

Behind a black rectangle that extends from above, a texture that is not defined if it is hair or thick ink, scraped off. But it falls like a waterfall flowing ink, which may contain the words in the letter.

The letter determined her fragile world of paper. Always has present that moment when she read it, and modeled her as a person.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

The figure is looking at its background, its wall. The paper builds its skirt seems to suggest that is standing as if she had an evening gown. And the light describes the shape of her back.

The violet color, can symbolize magic.

Her skirt is pleated paper, nothing fancy. Is her own imagination, whoever wears her, is a scenographer in her mind, build her paper world, a world of fragility, memories.

Appears on her floor, also of paper, seated on a pedestal as if she was a kind of human sculpture, immobile, petrified.

Behind a black rectangle that extends from above, a texture that is not defined if it is hair or thick ink, scraped off. But it falls like a waterfall flowing ink, which may contain the words in the letter. Shedding and surrounding her on the floor, in a ritual circle.

The letter determined her fragile world of paper. Always has present that moment when she read it, and modeled her as a person.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

She knits nonstop into her bed, only her wood backrest is not woven, but behind is her limit. Ahead, her pleasure or her obsession. And the thread that we, the viewers of this painting share with the knitter.

her exit from reality, her catharsis, her tranquility and pleasure.
Everything is soft and comfortable. But she has lost the notion of time.
Every stitch, every seam, as is done contains her memories, her life
and she incarnates with knots.

And forget that her time, her life passes knitting
When the knots are more than her memories, than her life, which will her her thoughts?

Meanwhile the wool begins to surround her.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Sitting on the edge of a wooden prism, damaged by water, she seems to meditate on his boat. Wrapped in humble clothes and with her hair gathered, looks down,
seeking her feet,
and surrounded by water.

Not looks at the distant horizon but to her memories and projects.

Behind of the wood, a big curtain without inscriptions, perhaps the sail.
An imaginary map is rebuilt in her world, an old map of boat trips, discoveries, filled with stories of the past.
An horizon that merges with the water and her deep longing.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

In a bluish atmosphere, with certain aesthetic similarities of paintings by Picasso, she is alone in an old hall. The geometry surrounding her. The apparent symmetry, the rigid in her environment. Static and hard.
and at the end of the road only files.

a world where everything seems to be stored in boxes, chests full of value.

to when and how much we are able to treasure?, perhaps it can be done with all ?. worth it?.

she is the only thing soft, his clothes, his body: what remains. looks and questions whether or not be part of her chest, her reality. Without opening it, knowing and questioning whether the decision could be irreversible. Meanwhile her neck begins to twist and her shape, her perimeter begins to build new, and consequently of the world she inhabits.

until his body is geometry.
his change and nostalgic appear inevitable

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

At first glance, a very old copper bathtub unites the two characters. They are sitting on the edges, not completely submerged, faced, in a relaxed, static position, and resignation. A nostalgic atmosphere surrounding the damaged room, as if time had passed. A lateral light floods the image, perhaps the apparent exit. Their faces are enveloped in a kind of film / nylon, or electricity, we never know these faces, are under, they live, and apparently they look at each other.
The energy connection own humans. Between people and between oneself.
Water and copper, are energy conductors, commonly used, is why the interpreters are in that kind of old bathtub and used for years. However, it contrasts with the Nylon (contemporary element). The allusion at different times is at the same time represented in the pictorial mode of representation: the bathtub, has a near Rembrandt pictorial treatment, while the composition and other elements represented, and the pictorial treatment in the rest of the painting, are contemporary.
This position, sitting, with water on his feet, too, has been used for communication between heaven and hell.
Apparently there are two bodies, but then becomes perceptible that is the same person, mirror, with whom we live.
This nylon, wrapped their faces and communicates with each other, but can give two very different sensations, such as nylon: the feeling of suffocation, and if it is associated with energy, electric currents: a union between two parties.
The composition is as simple as possible, bodies, nylon and bathtub form a rectangle where everything flows. Behind a room, timeworn, perhaps something of which can not get out.
Communication, energy, feelings, our mirror, recognize ourselves, are central themes in this panting. The Meeting.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

At historical level, the union of an academic style with typical materiality of hyperrealism, in painting. The union of past and present in the figurative art, as a ritual construction.

The violet color, can symbolize magic.
In this painting a ritual is reconstructed. Dance for summoning rain.
Her skirt, her floor are pleated paper. Is her own imagination, whoever wears her, is a scenographer in her mind, build her paper world, a world of fragility. Ready to build her devotion, and called on the gods.
In a stormy environment, to a level of enchantment, she dance.
And finally the water, dilute their garments with which insinuates cover herself. Be beautiful, naked and so, be free.

Victoria

Oil on linen 50 x 40 cm.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

In the front a window, and away from her room, a woman is looking with a veil that covers completely. Looks like a virgin, a bride, or just a ghost. Wait quietly sitting. Her suitcases, her chest, her memories.
She saved it all and protects without a moment away.

Below, she finds herself in another time or memory, in front of the scene, without a veil, free, nude, beautiful, sensual youth exposed to active maybe is she, before begin to wait.
She Raise a candle, the fire, and lights herself with the veil -is where coexist different times by the same person- this light represents hope she does not lose and even with her veil.

All elements appear with a very simple arrangement, but the compositional lines lead the viewer's eye toward the green wall and notice that it is damaged by years of wait. Instantly we noticed that there is a paper, a letter, but only contains empty.

She waits, treasuring and living with their memories, perhaps her love.

though he'll never come back and she'll do it convincingly even if it takes her life itself.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

The ritual of drinking tea is universal and historical, and that is why I chose it as my subject. Although the act of preparing and drinking tea might appear ordinary or banal — especially in Western culture — in some situations and cultures it carries enormous depth and meaning.
In the painting Tea an illusory female figure pours tea over a European style tea table. Frivolity and irony are manifested in the way that the ritual has been modified to include the image of a woman preparing tea on herself. This table — set for tea — with its fabric elements, forms the woman’s bed covered by sheets that envelop her. Her clothes are like centerpieces (woven lacework) demonstrating that this ritual is deeply embedded in her.
Sitting down to tea often mean time spent communicating with others: hence the four cups. But in this work one sees an illusory figure incarnated for just a moment, perhaps a memory that is about to be lost. Dressed in memories perhaps the figure is prepared to accept her destiny: her eyes, hands and body tell us about this. However, we also discern another person who completes this moment, and that person is herself, with her face hidden outside the painting, perhaps deceiving herself.
This single act of drinking tea manifests a simple truth: that we have just ourselves in life.

About

Nare II Oil on linen 55 x 36 cm.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

The image recalls some Renaissance works of Leonardo and Raphael. (Attached picture).
The construction of the image has a direct allusion to the conical perspective, rendering the invention of this artistic movement itself. This means the image has a vanishing point central, of the Renaissance, in the beginning of the use of this system of representation. This can be seen very clearly in the floor.

She is in an old place. The doors and floor tiles made of small, mosaic tiles broken, prove it.

This woman is in a old, run down, everything is worn. Holds in his hands, gently and tenderly, like a child who looks fragile, a cut glass candle, sadly broken, irreparable. Everything that has been around over time.
In an environment where it appears to be cold, since their clothes-European bohemian-evidenced, just light a candle in their hands warm.
She tries to repair, "Restore" the impossible "over time", irremediable aging. However treasures within the inexorable truth, a flame warm, a source of life in his hands, as if he does not resign and holding still on the source of life and hope, but do not neglect to understand the passage of time as a part .. . and that it has even less beauty but full life.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Light fills the room, like in dreams.
In an aesthetic environment and own of neoclassic architecture Frenchified

She is with clothes that recall the early twentieth century, but it is contemporary design clothes

Her skirt expands on the floor as rooting
and in the foreground, his chair.

Time seems to have passed, being silent, watching from his chair to the light with patience, now finished. The light is cold and the temperature of the place is uncomfortable too.

Her shawl was left on the chair, when she stands up

Never will be shown her face

She stands up and analyzes to open the window or not, while still looking forward to ending her wait.
She approaches to the light

She will open the door? She will leave the way like she live? She still exists or only his warm shawl on the chair?

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Seeing the figure centered evident that while representing a dancer tiptoe is still something else. It is a metaphor of the effort, it is a metaphor of the dancers themselves. Also, her clothes recalls the own Baroque clothes, her skirt, her capelina, his posture. Thus resembles a Christian virgin, of the Renaissance. Here, the dancer would be generating an analogy, and being located closer to a place of holiness.
Recall that the principle of the dance was the ritual, and especially in the Middle Ages, practically dancing was associated with the coven. So, this symbol reveals indifference between magic, religion and faith.
This dancer, with her own capelina of a Vermeer, irradiated of light, and that seems suspended thanks to pointe shoes, which form an axis, like a music box, is not static. It seems like the instant conserves her movements, for the repetition manifested in the space for her arms. Appear unfocused those who are more distant, while those holding her skirt, are in focus, are resting, the others are transparent. A very soft, very slow, slow motion, as if the air around her, fans, it is intuited. But everything happens at the same moment, there is no temporal differentiation, it is illusion. But if it looks deeply into the arms "moving" are not from the front, like figure it is, are as if she were back.
This re-demarcate the overlay image as the background, does not understand the essence of spatial or temporal limits. Maybe, the work proposes a spiritual time. The whole image of the figure with its multiple arms, also reminds Shiva, the Hindu goddess, reinforcing the idea of undifferentiated faith as a religion, and as the bearer, the dancer, the artist.
It also makes us think of the images of Leonardo Da Vinci, analyzing human proportions, where the beginning of science located the man as a foundation and not God.
Is evidenced, a Gothic church. An image of central perspective in the composition and the similarity of the figure with the anatomical analysis of Leonardo, typical of the Renaissance, as well as representing the damero as the basis for the construction of the conical perspective, whose representation became massive in artists in the Baroque period, which lighting and theatricality of the scene, fits the idea. This means that this painting shows us a story of development in relation to the form of representation and faith, together. In a contemporary image, which seek, in a mode illusionist and illusively, not differentiate between temporality and spatiality, in favor of the essence: Illusion. Its title is, therefore, The Threshold, the border between the exterior and the interior, reason and faith, past and present, magic and religion, certainty and illusion.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Self-absorbed and in a deep introspection
She imagines herself or is actually wrapped in tulle
Naked and wrapped, packaged, remember and imagine

-His environment is constructed of essential, simple, soft elements, as abstractions-

Everything is fabric

Behind: herself, her duality, beautiful and soft
Resigned, the see in one of the two boards lined with crumpled linen.
A rhombus is drawn, which is closest to her. Let me be her mirror covered and useless.

Or just those are the walls of his prison fabric

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Everything seems to happen in a deep state of meditation. A state perhaps providing the opening to an environment of mental and minimalist construction.

They seem to float

The table is held by ropes. Nothing is unbelievable or unrealistic.
Behind, a crumpled cloth, a vacuum blackboard or a sail of his barge..

The union, ironic, join their clothes rebuild a silhouette that refers to a canoe.

Confronted, she does not want to look herself.

Everything is empty, in a place without possibility of moving, if not through her mind.
 
Because without balance they could not stand.

The blackoard shows nothing written, the sail will not move

Everything remains equal indefinitely

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

This painting proposes the union of religions, the no differentiation between them. One hypothesis could be: Faith is independent of religions.
Three figures, one above the other, they seem to be coupled, fused, and sharing their extremities, remember a totem. While the reclining figure, the lower, seems to insinuate a Christ.
On the floor the tiles enunciate drawings of crosses, which refer to Christianity, but in turn this totem is enclosed in drawing of a circle in those same tiles, own symbol of ritual and magic, predecessor of religion, as it is totemic.
Everything happens at the same moment (spiritual time), his arms are moved and are captured in the painting. The feeling of slow motion, of a retained time, entails the connotation, as if the figure fans the air, perhaps a bird.
Is evident in the representation of pictorial space the intervention of two systems: conical perspective (Renaissance) and a superposition of a two-dimensional abstract structure, which alters and distorts the image supposedly represented below. This responds to the spiritual time where everything happens at the same time, even the way of representing space-time.
To the theater is called in many cases: box illusory. The three figures have a bearing axis: dancer's feet on tiptoes. Recalling a music box (which seems to be sounding). So that both allusions make up the title of the painting, Music Box.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Apparently it happens in a forest in a swamp. It is getting dark, it is a moment in which the time slows.

On the floor, red earth, on the shores of a marshy river bed. one of the protagonists appears fallen, and their poor clothes shown dirty with mud, is a character in a somber tone, and receives less light than another -standing and accompanies him - and seems to merge with the earth itself. It is latent, as if everything was a product of his rest, his mind, or not, just this is happening.

She, standing, bright, and its translucency and stained fabrics with the same earth, illuminating the body at rest, as having its own light with a blue tone, as the beginning of the moonlight ... becomes conscious of seen herself, fallen, without light, poor, united and camouflaged with earth and understand that she must bring down a seed (which appears not shown, only the gesture tenderly as if dropped a caress to the body lying)

Should be planted itself and she do it! ...that nothing is over, that one more time she have to begin again, that life buried her but only for a moment ... to return to flourish, even more beautiful,

in her swamp.

About

Oil on linen 42 x 30 cm.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

The figure is reclined, pleadingly.
The violet color, can symbolize magic. (If the paint was inverted pictured would resemble the shape of a flower)

Her skirt is pleated paper, nothing fancy. Is her own imagination, whoever wears her, is a scenographer in her mind, build her paper world, a world of fragility, memories.

Appears on a platform, her floor, also of paper, as if she was a kind of sculpture or going to interpret a play, or better yet, is still life.

Behind a black rectangle that extends from above, a texture that is not defined if it is hair or thick ink, scraped off. But it falls like a waterfall flowing ink, which may contain the words in the letter.

The letter determined her fragile world of paper. Always has present that moment when she read it, and modeled her as a person.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

The figure is looking at its background, its wall. The paper builds its skirt seems to suggest that is standing as if she had an evening gown. And the light describes the shape of her back.

The violet color, can symbolize magic.

Her skirt is pleated paper, nothing fancy. Is her own imagination, whoever wears her, is a scenographer in her mind, build her paper world, a world of fragility, memories.

Appears on her floor, also of paper, seated on a pedestal as if she was a kind of human sculpture, immobile, petrified.

Behind a black rectangle that extends from above, a texture that is not defined if it is hair or thick ink, scraped off. But it falls like a waterfall flowing ink, which may contain the words in the letter. Shedding and surrounding her on the floor, in a ritual circle.

The letter determined her fragile world of paper. Always has present that moment when she read it, and modeled her as a person.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

She knits nonstop into her bed, only her wood backrest is not woven, but behind is her limit. Ahead, her pleasure or her obsession. And the thread that we, the viewers of this painting share with the knitter.

her exit from reality, her catharsis, her tranquility and pleasure.
Everything is soft and comfortable. But she has lost the notion of time.
Every stitch, every seam, as is done contains her memories, her life
and she incarnates with knots.

And forget that her time, her life passes knitting
When the knots are more than her memories, than her life, which will her her thoughts?

Meanwhile the wool begins to surround her.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

Sitting on the edge of a wooden prism, damaged by water, she seems to meditate on his boat. Wrapped in humble clothes and with her hair gathered, looks down,
seeking her feet,
and surrounded by water.

Not looks at the distant horizon but to her memories and projects.

Behind of the wood, a big curtain without inscriptions, perhaps the sail.
An imaginary map is rebuilt in her world, an old map of boat trips, discoveries, filled with stories of the past.
An horizon that merges with the water and her deep longing.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

In a bluish atmosphere, with certain aesthetic similarities of paintings by Picasso, she is alone in an old hall. The geometry surrounding her. The apparent symmetry, the rigid in her environment. Static and hard.
and at the end of the road only files.

a world where everything seems to be stored in boxes, chests full of value.

to when and how much we are able to treasure?, perhaps it can be done with all ?. worth it?.

she is the only thing soft, his clothes, his body: what remains. looks and questions whether or not be part of her chest, her reality. Without opening it, knowing and questioning whether the decision could be irreversible. Meanwhile her neck begins to twist and her shape, her perimeter begins to build new, and consequently of the world she inhabits.

until his body is geometry.
his change and nostalgic appear inevitable

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

At first glance, a very old copper bathtub unites the two characters. They are sitting on the edges, not completely submerged, faced, in a relaxed, static position, and resignation. A nostalgic atmosphere surrounding the damaged room, as if time had passed. A lateral light floods the image, perhaps the apparent exit. Their faces are enveloped in a kind of film / nylon, or electricity, we never know these faces, are under, they live, and apparently they look at each other.
The energy connection own humans. Between people and between oneself.
Water and copper, are energy conductors, commonly used, is why the interpreters are in that kind of old bathtub and used for years. However, it contrasts with the Nylon (contemporary element). The allusion at different times is at the same time represented in the pictorial mode of representation: the bathtub, has a near Rembrandt pictorial treatment, while the composition and other elements represented, and the pictorial treatment in the rest of the painting, are contemporary.
This position, sitting, with water on his feet, too, has been used for communication between heaven and hell.
Apparently there are two bodies, but then becomes perceptible that is the same person, mirror, with whom we live.
This nylon, wrapped their faces and communicates with each other, but can give two very different sensations, such as nylon: the feeling of suffocation, and if it is associated with energy, electric currents: a union between two parties.
The composition is as simple as possible, bodies, nylon and bathtub form a rectangle where everything flows. Behind a room, timeworn, perhaps something of which can not get out.
Communication, energy, feelings, our mirror, recognize ourselves, are central themes in this panting. The Meeting.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

At historical level, the union of an academic style with typical materiality of hyperrealism, in painting. The union of past and present in the figurative art, as a ritual construction.

The violet color, can symbolize magic.
In this painting a ritual is reconstructed. Dance for summoning rain.
Her skirt, her floor are pleated paper. Is her own imagination, whoever wears her, is a scenographer in her mind, build her paper world, a world of fragility. Ready to build her devotion, and called on the gods.
In a stormy environment, to a level of enchantment, she dance.
And finally the water, dilute their garments with which insinuates cover herself. Be beautiful, naked and so, be free.

About

The painting is a discourse itself, this is just one interpretation, not the only one, nor the best.

In the front a window, and away from her room, a woman is looking with a veil that covers completely. Looks like a virgin, a bride, or just a ghost. Wait quietly sitting. Her suitcases, her chest, her memories.
She saved it all and protects without a moment away.

Below, she finds herself in another time or memory, in front of the scene, without a veil, free, nude, beautiful, sensual youth exposed to active maybe is she, before begin to wait.
She Raise a candle, the fire, and lights herself with the veil -is where coexist different times by the same person- this light represents hope she does not lose and even with her veil.

All elements appear with a very simple arrangement, but the compositional lines lead the viewer's eye toward the green wall and notice that it is damaged by years of wait. Instantly we noticed that there is a paper, a letter, but only contains empty.

She waits, treasuring and living with their memories, perhaps her love.

though he'll never come back and she'll do it convincingly even if it takes her life itself.

Victoria

Oil on linen 50 x 40 cm.