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Ensayo sobre una redención sin traidor ni víctima. Painting
Uruguay
Painting, Oil on Canvas
Size: 112.2 W x 59.1 H x 0.8 D in
About The Artwork
TRIPTYCH. MIDDLE. The Portuguese origins, the passage through that country, and an exhaustive meditation on "soísmo" (solismo), linked to a deep attraction towards the mysticism of Israel, are reflected in this work. Portugal is revealed through the "Manuelino" style, in the design of the clothing of its characters, and in the rationalized nostalgia for the random laws that seem to rule the world, for what could have been and was not. In the scene, the eleven apostles interact, think, go up, order it down, touch the cross, are amazed at their own thoughts. It is a controversial dialogue that alludes and questions about the "voluntary death" of Christ, where a change of meaning is raised in two directions: first: there is no longer the violence generated by a Martyrdom; second: it is no longer necessary, to show love, to surrender to death. Under the fissures of these characters as "contemporary thinkers," the proposed concept is that of "life for life" as opposed to "death for life". While in History Christ gave himself to death to give way to Men, these "new demiurges" create a Universal History that discards the idea of a suffered passion and a suffering Christ necessary to redeem the sins of Man. It is about a subtle translation and opening of meaning from the joyful and voluntary sacrifice towards new possible redemptions in an attempt to express the contemporary spirit. The work manages to masterfully fuse the author's inner dialogue with his characters in a silent metaphorical conversation that suggests a new parable about human relationships. Mirtha Ibarra.
Details & Dimensions
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:112.2 W x 59.1 H x 0.8 D in
Frame:Not Framed
Ready to Hang:No
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Uruguay
With deliberate austerity and without expressive excesses, Daniel Amaral Oyarvide takes up the challenge and makes a fond rescue of what is beautiful. Precision matters because that devotion to beauty is one of the essential guides in all his work. Baudrillard has argued that seduction in the face of beauty, as seduction, was a mere artifice, hardly simulacrum. However, in this case, the opposite happens. Seduction before the beautiful germinates from the visceral and does not seem to be linked to explicit hedonisms or sensuality. It is woven into the affective, in the desires of the human being, in their beliefs, in their intimate plots, even in the wakefulness of their inexplicable anguish. It is born from myth and flies over a prudent rational thought. It generates uncertainties and offers the repose of what it does not demand: the logical rigidity or the exuberance of delirium. His work sits in the warm intimacy of what is often called the spirit. It generates a profane exercise of faith that can touch even rigid atheists or the insecure agnostics.
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