The Aesthetics Of Duplication

Try to set new reference criteria to the dimension of the creation you experience, capturing a different way of being of the same nature that defines you.

With every passing day I was seeing myself as someone else, I would have wanted myself to be someone else and, eventually, for there to be just me, an abstract construction, an "unreal" that allowed for the understanding of the fact that the real can only exist because it has something surreal within it, an astral revelation, a free spirit doubled by the temptation to project itself into the future.

This tireless, ever-changing process, the state of always being something else in the relationship between the hidden of an own world reaching its limits and the adventure of a mysterious calling towards a fulfillment that requests its absolute, was meant to unravel the mystery of reunited and sovereign virtues in a same space of purity called "Naturalism Sui Generis".

My inventive mind, under the diversity of artistic expressions and inexhaustible sources of information, pursued this strange being that arose not so much from the naturalism of the image of the highest degree of expressiveness attributed to the affective charge, but from the enigmatic association of two compatible artistic trends: symbolism and surrealism, making more than obvious the idea of cohesion in a single whole called: "The Violation of the Plausible."

Each level of creation constitutes a line in the cache of a trail from the depths of the hidden areas of madness, within the limits of reality captured in several hypostases. A line that, by drawing waveforms, is secretly in search of a relationship with the vision of a still unfinished composition, producing an echo of the unexpected around events and influences of the artistic communication environment.

The line helps experiences take on a material form, increased intensity, metamorphizing into other forms that acquire an identity through expression emanated in simultaneous double rotation: the symbol, which gives expressions an overflowing ambiguity, and a prefiguration of the outward manifestation of the being that transcends the limited personality.

Leadership: Do you consider the argumentative context in which you speak of yourself as an "artwork", further sketching the lines of an aesthetic concerned with self-stylization through the subjective modeling of the outer Universe?

With that being said, I get down to concluding: I was the index of an Ego belonging to a parallel entity that was in the art world, proposed by an outburst of the soul, framed between the lines of a possible interpretation of the imaginary universe, indefinitely biological. This entity evolved through the play of ambiguous metamorphoses of various faces and silhouettes that some of those who contemplated them would have given them a single note of style: unlimited hazard.

My main mistake, given by the forces of the sensuous that exerted an increasing pressure on the apparent, was to believe in an imaginary that does its utmost to replace the living, painfully deceiving reality. As if I had to discover the perspective of a new deified creature, symbolically represented in a manner that does not have to copy reality, but which gains its existence based on the principle of associations and surrealist correlations, by combining perfectly veritable elements.

A true artwork is a result of the emotional load produced by the symbolic association of two opposite but compatible realities used to transcend limited personality.

Borges attributes the version of Hernandez’s poem ("Tadeo Isidoro Cruz’s Biography"), his own meaning. In the poem, soldier Cruz joins fugitive Martin Fierro, because he cannot commit the crime of killing a brave man. Thus, he returns to his own past. Finally, he sees his own face and the ending of the story gains the greatness of a revelation. There is a moment in every man’s life: when we find out who we are: Cruz understand his destiny at this moment and contemplates, as in a mirror, his eternal face. Seeing Fierro’s frightening face, he understands that "he was the other". ¹

The ceaseless contemplation of the supreme reality is a proof of the sensitivity with which you approach everything that surrounds you, imagining yourself carried by the murmur of matter in the momentum towards complexity, capturing another way of being of the same nature.

As a side note, this type of association with a "model entity", presented as a still life, has its precedent in the technique of cubist collage that casts doubt only on illusory realism, presenting beings and things in a manner in which they have not been perceived: through various elements and geometric figures, continuous or discontinuous lines, graphical signs, points of force and orientation outlines to denote the spatial depth

Beyond the subtlest covering of the meanings drawn from the tissue of a spiritual vision that allows us to experience the state of profound unity, there is an alchemy of the creative act like an Alter Ego that you are aware you can never separate yourself from.

Michelangelo created David as sort of his duplication in an eternal life, in an attempt to rise above the ephemeral. What better way to explore our complex personality than by transporting it into an alternative reality, in a parallel world?

The creative act is a sum of self-perceptions embodied in an expressive doubling of an individual experience that is rendered in the form of a message to the outside: "Earn your Eternity ! "

The Aesthetics Of Duplication addresses the space inherent in the creation from which the future materializes, related to the principle of symbolic association taken to a paroxysm of ambiguous situations by combining real elements with unreal ones, often using the technique of surrealist or cubist collage.

* Note: Jorge Luis Borges - Complete Prose, vol 2 , Publishing House Polirom. 2006.