Constructing an imaginary

The creation of an imaginary always presupposes the construction of a visual stratification, of a stage of action in which the elements interact with each other. It is interesting to note in this sense how etymologically the word originally indicated a covered, closed, protected place, the opposite, therefore, of the idea of the stage that we have today, considered as a place of openness, of exposure, of manifestation. However, the cover has the function of protecting the cruel delicacy of what is being staged and it is impossible not to consider the scene as a pattern of frames aimed at showing only what it chooses to show. A structured imaginary, therefore, exhibits all its aesthetic complexity in the inextricable interweaving that arises from the dialectic that exists between the layers at play within it. The imaginaries present in this exhibition can be considered as two-dimensional scenic preciousnesses that praise, each in their own way and each according to the visceral artistic search that distinguishes the stainless and delicate labyrinth formed by the parts of these visual scenarios and their fleeting balance, the rhythmic use of tenacious and graceful allegories, from the profound investigation of spatiality and colour. It is thus that, passing through the proscenium he gives us, we arrive at that liminal and intangible non-place that springs from the perennial dialogue full of reverberation that is established between the eye and the multifaceted immensity of these two-dimensional imaginaries.