Carlos Salas

Carlos Salas

Recuerdos Suspendidos

Geometry that has become sensitive. There also very clear conductors in yellow rectangles guide the eye, in the middle of that passionate conflagration. Intelletto d’amore calls his purpose. Where the order marks the cartography of nothingness and the feeling tries to escape towards a tactile enjoyment at times, distressed at others. Already Michel Semphor, speaking of “the notion of architecture in contemporary painting” explained it well: the reduction to the essential, the dispossession that can be limited to a vertical and a horizontal, eventually become a sign that condenses a sum of ideas. ” The barrier can be a bridge, the link, the reserve, because ultimately “architecture does not suppress lyricism but channels and fortifies it.”

But that vision architecture does not eliminate apparent surfaces of objects, but sinks into the caverns of the self, in the true mental exercises of an abstract painting where the artist, like an archaeologist, discovers deeper strata, thanks to the brush And the spatula. Through the challenge of remaking, a thousand times, the apparent finished picture. Postmortem painting, where rusty reds and underwater green rescue energy, but at the same time end up being analytical reflection, rationality that seeks to structure chaos where thought is no stranger to the stain found in a random search. Painting, then, of leaks and textures, of musical discoveries, but forever has an idea behind it. She can appeal to ambiguity, but also to the shrewd observation that Edgar Degas stamped at the time:

“Painting a picture is like committing murder; all alibis must be planned. ”