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Title: Chaos III
Year Completed: 2013
Size: 31.4x31.4 inches (80x80 cm)
Medium: Mixed media on laminated wood
Certificate of Authenticity? Yes
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Rafael Gomez Ayala
Art and its conception express a sense: Painting was created not only with an aesthetic intention but of communication, of exchange of ideas, of serving of way and refuge against solitude. In this way this sense or course should be preserved and to harmonize with aesthetic restlessness that accompany the underlying feelings in all artistic work.
In this way, it arises the necessity of transmitting sensations, of receiving stimulus, since Art is mediatized by what we live day by day. In my opinion the artist opens up to the world to feel it; he opens up to the society, it participates in their activity and he receives in exchange a heap of sensations that explode in the idea of Art and its creation. The artist is reflective of the society (every man is a social product) and its dynamics, for what would never understand the intellectual isolation as way of creation, because it would lack of social stimulus, of social apprehension: I imply myself, and I try to know where I live and how I know myself through the environment. The artist should use all the instruments and to look for them where they are, in environments of all nature. Arrived to this point I should affirm that I consider fundamental and absolutely necessary my work in the area of Social Services, through which I know the experiences of the other ones and I transform them in Art. It stimulates me to know the world of the other ones, their yearnings and their failures; In this way I made work my more and more complex.
Relating to the relationship between my work and my experience I should stand out the clear influence that the popular craft of Ronda’s Serranía, where I grew has taken place in me, I met this traditional Art through my father’s hand; his knowledge was impregnated in me and it made of me an artisan of the pictorial Art. The town where I am from Arriate its culture, its people’s purity, its kindness and its sensitive proximity, they favored the flame of the painting, the temptation of creating what I lived: Its landscapes, the evening in the valley, the chats in the small squares, the observation of the alive colors of the houses, the old men´s way of walking, the elderly, the other ones lives and their interpretation through my senses, everything, absolutely everything, it has made of me what I am as artist.
I think that once explained the process of ending up being the painter that I am, or the communicant of painting that I aspire to become, if you prefer, I should refer to what I understand for artistic expression: The artist should develop his own language, be the language of the delirium, the light or of blood, and to achieve it he should take off the academicism. It should be heard the purity and the freedom in the pictorial form, in the same way that Picasso, Miró, Chillida, Dali, Goya or Saura, the big ones, did they didn’t go to any school and they were able to did school. The works here presented have directly been born from nothing, nihilum, and without any intermediary. This is what constitutes its artistic signature. It has not been born in the breast of any school or current, neither It keeps relationship.
Art as a vocation of the senses has anything to do with any rule. The norm to follow is the sincerity and the manifestation of the own idea of purity. It doesn’t need of currents that mediate in its expression. Currents, isthmuses, fashions, tendencies, are always subsequent to the artistic fact, and they harbor in their interior a gregarious sense that anything makes do with the Art.
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