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We see colours, pure as the respected mistery. The eyes want to get inside it and profane it, but the artwork doesn’t reveal it’s secret: to offer to the sight a secret, this mystery, requires its alterity to be elusive, transcendent, like what in reality is absolute, compelling but elusive. The mystery returns to its opacity just when it promises to be revealed. With the sight, the spirit reaches the artwork and embraces its own silence, the opportunity to listen, specially to itself. There is no noise anymore. What is given to us is the ability to continue receiving. Pin’s works are spatialized time. They incorporate time not as length of work (product) but as an element that in its flow provides a unique form in space. Pin's work does not take a moment of that flow, stopping it: it is just part of that flow. Lines do not capture the movement; they are free gestures of the pure pigments and the matter. The theme of each work is the result of this process in which technical knowledge and fun come together. The author admits that each work it’s an self-built object. The artist-demiurge lets the artwork born. He gives it freedom to become by itself what embryonically already is. Rightly, Carmen Pallarés talks about deliberate randomness. Thus, Pin’s works, are objects as real as reality itself. Mimesis is overcome, not by the way of giving it up but moving it beyond its limits: what the artist questions and imitates is no longer a given real object but the own natural processes by which something comes to constitute a space-temporary object. That which is the subject of painting is not previous to the process in which it is self-constituted as an object and, in that sense; the artist does not predetermine its meaning. The intention in chance is, on the one hand, the intention of respecting the passage of randomness in time and, in the other, the tension that the object itself states in its relationship with the artist when it demands to be made. Pin gives to the object its receptivity and its elaborate technique for the genesis of the object to take place. In art, nature is introduced through the materials that make it possible. That’s why what interests me is not the pictorial matter but the matter itself, as an element. Taking consideration of the symbology of the used materials, the condition they have and it’s colouration, I share the opinion of Anish Kapoor and Yves Klein when they state that the powdered colour represents the spirit. Colour, being powder, does not have shape as it is not a solid material. As the pigment itself, powder simbolize the trascendental and the absolute. Saturated and pure colours reinforce the message of the spirit that it’s also transmitted due to the capital simplicity of the shape. The presence of the “monocromic icon” in modern abstaction implies an acknowledgment of the colour. The lines traced with purity, smooth surfaces and other elements alike, fullfit because of their simplicity. But pure colors have the same effect, simple and not mixed, valuing the simplicity and purity of the sensible material. The voids and holes appearing in some pieces enclose the “spot” inside themselves. They are secret emptiness, hidden mysteries that the observer may contemplate but not penetrate. Something that is close to fear, understood in ediptic terms, and even more with darkness. There is nothing as dark as the inner darkness. The inner place is an individual sanctuary, a mind/body spot. Another element that I consider of huge importance in my works is silence, the inner silence, an intimate silence, that could be the silence we feel as we plunge into the bottom of the sea or the silence felt by an astronaut above in the space. This is the silence related with the “futility of the artwork”. My work is filled with silence, allusions, latency, hidden feelings. One of my purposes related to the perception of the artwork related to the spectator is that the mind stays enough time still so it can think in the reason why this space as been created. The piece has to hold the eye and the mind. The observer has to get hooked with the restlessness of a presence, with the restlessness of the “unknown”. The spectator has to go from the narcissist conscience into the sublime unconsciousness. The contemplation of a very simple object force to think about it, about the object itself, about oneself’s body. Mind is projected in the shape, and the shape is able to project itself into oneself. That’s the moment when you realize yourself, your thoughts and your solitude. It is like a mirror reflecting our spirit and our interior. Sometimes images are trasmited to the brain with so much beauty or sublimity that trascend words. In this moments we may experiment a state of ecstasy, often fleeting, often prolonged, when the self mute. Those moments are touchstones to our sense of connection with the world. For Jacques Derrida “Is sublime what it’s immediately liked by its opposition (Winderstund) to the interest of the senses. Sublime is never the same to itself, it is never in the same place, it is always irregular and excessive. Compared to the sublime we are absolutely insignificant, we stand paralyzed while the Earth rotates”. The space of painting is the state of illusion. My work is located inbetween painting and sculpture. It is not intended to create an illusory space. What it is is what appears. ANNEX Nowadays I’m trying to transform my work, giving it a new image from both a conceptual and an aesthetic point of view. I decided to introduce some human presence in some of my compositions in order to “populate” them: a lonely observer or an object will alerts us of its presence inside the artwork. The small scale in which they are represented will oversize this ubiquity. This “little observer” gazes its surroundings within an absolute loneliness, interacting in this way with the wild nature. Sometimes he could feel sublimated by it and sometimes the observer will fight against it in order not to let the elements power to vanquish him. In some cases he will appear as a passive observer whilst in some specific circumstances he will become a victim of the surrounding nature. In some other cases we will only appreciate the footprints that our little adventurer left on the painting, which will let us speculate about his avatar and his fate. This tiny human presence will be almost invisible to the eyes of the real observer that will observe the painting from a certain distance. In this way, he will act as a good which observes its creation from above; the “little observer” will turn, without noticing, into an “observed observer”.
We see colours, pure as the respected mistery. The eyes want to get inside it and profane it, but the artwork doesn’t reveal it’s secret: to offer to the sight a secret, this mystery, requires its alterity to be elusive, transcendent, like what in reality is absolute, compelling but elusive. The mystery returns to its opacity just when it promises to be revealed. With the sight, the spirit reaches the artwork and embraces its own silence, the opportunity to listen, specially to itself. There is no noise anymore. What is given to us is the ability to continue receiving. Pin’s works are spatialized time. They incorporate time not as length of work (product) but as an element that in its flow provides a unique form in space. Pin's work does not take a moment of that flow, stopping it: it is just part of that flow. Lines do not capture the movement; they are free gestures of the pure pigments and the matter. The theme of each work is the result of this process in which technical knowledge and fun come together. The author admits that each work it’s an self-built object. The artist-demiurge lets the artwork born. He gives it freedom to become by itself what embryonically already is. Rightly, Carmen Pallarés talks about deliberate randomness. Thus, Pin’s works, are objects as real as reality itself. Mimesis is overcome, not by the way of giving it up but moving it beyond its limits: what the artist questions and imitates is no longer a given real object but the own natural processes by which something comes to constitute a space-temporary object. That which is the subject of painting is not previous to the process in which it is self-constituted as an object and, in that sense; the artist does not predetermine its meaning. The intention in chance is, on the one hand, the intention of respecting the passage of randomness in time and, in the other, the tension that the object itself states in its relationship with the artist when it demands to be made. Pin gives to the object its receptivity and its elaborate technique for the genesis of the object to take place. In art, nature is introduced through the materials that make it possible. That’s why what interests me is not the pictorial matter but the matter itself, as an element. Taking consideration of the symbology of the used materials, the condition they have and it’s colouration, I share the opinion of Anish Kapoor and Yves Klein when they state that the powdered colour represents the spirit. Colour, being powder, does not have shape as it is not a solid material. As the pigment itself, powder simbolize the trascendental and the absolute. Saturated and pure colours reinforce the message of the spirit that it’s also transmitted due to the capital simplicity of the shape. The presence of the “monocromic icon” in modern abstaction implies an acknowledgment of the colour. The lines traced with purity, smooth surfaces and other elements alike, fullfit because of their simplicity. But pure colors have the same effect, simple and not mixed, valuing the simplicity and purity of the sensible material. The voids and holes appearing in some pieces enclose the “spot” inside themselves. They are secret emptiness, hidden mysteries that the observer may contemplate but not penetrate. Something that is close to fear, understood in ediptic terms, and even more with darkness. There is nothing as dark as the inner darkness. The inner place is an individual sanctuary, a mind/body spot. Another element that I consider of huge importance in my works is silence, the inner silence, an intimate silence, that could be the silence we feel as we plunge into the bottom of the sea or the silence felt by an astronaut above in the space. This is the silence related with the “futility of the artwork”. My work is filled with silence, allusions, latency, hidden feelings. One of my purposes related to the perception of the artwork related to the spectator is that the mind stays enough time still so it can think in the reason why this space as been created. The piece has to hold the eye and the mind. The observer has to get hooked with the restlessness of a presence, with the restlessness of the “unknown”. The spectator has to go from the narcissist conscience into the sublime unconsciousness. The contemplation of a very simple object force to think about it, about the object itself, about oneself’s body. Mind is projected in the shape, and the shape is able to project itself into oneself. That’s the moment when you realize yourself, your thoughts and your solitude. It is like a mirror reflecting our spirit and our interior. Sometimes images are trasmited to the brain with so much beauty or sublimity that trascend words. In this moments we may experiment a state of ecstasy, often fleeting, often prolonged, when the self mute. Those moments are touchstones to our sense of connection with the world. For Jacques Derrida “Is sublime what it’s immediately liked by its opposition (Winderstund) to the interest of the senses. Sublime is never the same to itself, it is never in the same place, it is always irregular and excessive. Compared to the sublime we are absolutely insignificant, we stand paralyzed while the Earth rotates”. The space of painting is the state of illusion. My work is located inbetween painting and sculpture. It is not intended to create an illusory space. What it is is what appears. ANNEX Nowadays I’m trying to transform my work, giving it a new image from both a conceptual and an aesthetic point of view. I decided to introduce some human presence in some of my compositions in order to “populate” them: a lonely observer or an object will alerts us of its presence inside the artwork. The small scale in which they are represented will oversize this ubiquity. This “little observer” gazes its surroundings within an absolute loneliness, interacting in this way with the wild nature. Sometimes he could feel sublimated by it and sometimes the observer will fight against it in order not to let the elements power to vanquish him. In some cases he will appear as a passive observer whilst in some specific circumstances he will become a victim of the surrounding nature. In some other cases we will only appreciate the footprints that our little adventurer left on the painting, which will let us speculate about his avatar and his fate. This tiny human presence will be almost invisible to the eyes of the real observer that will observe the painting from a certain distance. In this way, he will act as a good which observes its creation from above; the “little observer” will turn, without noticing, into an “observed observer”.
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VIEW IN MY ROOM

HIERRO Y AZUFRE Painting

Pin Vega

Spain

Painting, Acrylic on Wood

Size: 15 W x 15 H x 1.2 D in

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About The Artwork

Con vigor apliqué acrílicos y resinas, infundiendo vida con pigmentos que evocan la intensidad del hierro y la vitalidad del azufre. Mi técnica de modelado en relieve añade profundidad, mientras que el realismo y simbolismo se entrelazan para contar una historia de fuerza y transformación. Esta obra vibrará con energía y pasión en cualquier hogar, invitando a contemplar la belleza en la dualidad de elementos naturales.

Details & Dimensions

Painting:Acrylic on Wood

Original:One-of-a-kind Artwork

Size:15 W x 15 H x 1.2 D in

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When he was just a child, as a christening or as a harbinger of artistic experience you would experience as an adult, during a vacation in the swamp of Guadalmellato in the province of Córdoba, PIN decided to dive into the deep waters of this reservoir for unmask the mystery of strange formations clay mineral composition from the shore that were introduced in the water under the strong character of a vein mineral. After your swim initiation, plunged again. But not this time in the shallower waters of academia, resulting in numerous outstanding and Honours in the Faculty of Fine Arts in Madrid Studied in four intensive years of the five career lasting, perhaps precipitated by their desire for independence within the art scene. Studied Fine Arts in photography with Cristina García Rodero and Matilde Muzquiz, audiovisual sculpture and three years, ending specialty degree in painting in 1992. Already in 1990 after feeling prepared technically and mentally decided to introduce in the academic art that he occupies today and that feels irrevocably drawn. Later also devoted to teaching drawing him especially expansive creativity of children. Exhibited for three consecutive years in different cities of Germany falling in love with your color palette and its velvety finish that stage the German public, which keeps a fond memory. Specific pigments selected for their works suggest the most basic human concerns. Pigments of the highest quality and purity, and preferably, due to its purist technical preparation of mineral origin. At first only worked with essentially warm colors and matte finishes but in their evolution eventually incorporate most beautiful blue, bright finishes, emulating water surfaces and the present absolute green, as the color of life. His work presents a language recognized by everyone, a timeless mystical perception. As happens in nature all depends on how you look and what you want to see that it is something mystical. The spaces you'll discover below, are illusory spaces but analogies with real spaces, realities in themselves. PIN, attracted by the unknown seeks to create mystery through elements such as emptiness, darkness and the unknown.

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