BLOOM

Click on the image to open the gallery

The first visual inquiries, which finally take form in Bloom, began when I studied design and visual communication between 1998 and 2002 in Caracas, Venezuela. A process began in my childhood and adolescence that led me to become intoxicated by digital culture. From the black background of DOS, through the first game consoles—Atari 2600 and Intellivision—to the high-resolution graphics of the subsequent consoles, video games were what seduced me most in that new world. Another decisive element in the emergence of Bloom is the mysticism that has always accompanied me—a part of my family history—that led me toward oriental mysticism and occidental philosophy.

After completing my thesis on Søren Kierkegaard, a fertile stage of artistic research and production began—a true flowering of worlds that had been forged in the dark for years. These abstract worlds are composed of undulations and vibrations that I define as beings. The cosmic forces that come together in the scenes find their impulse in the decomposition of modern dualism, in contemporary ways of relating to the world, and in a nature that does not faint in its eternal flourishing. In this way, Bloom emerges as a body of work in development, composed of small- and large-format artwork designed for both digital and analog media.

The digital glitch, the pixelated, and other effects or distortions characteristic of the digital language maintain in Bloom a degenerative action in which the “short-lived fault of a system” breaks the fluidity, and the pixels seem like fragments detached from something vaster and enduring. But at the same time, the prevailing digital disintegration also bids to become a fabric. The organic shape is composed of its own digital materiality, but all this visual language that seems alien to our biosphere is the essence of an indistinct reality, which alludes not only to the own nature of tissues and pixels but also to dreams. The constant flow of the decomposition of reality engenders visions, images in transit, and dissemination of fluids or dust, which, in its recreation, constitutes beings and radiates vitality.

Bloom opens especially in the dark, but unlike the discreet colors of the nocturnal, milky, or funeral flowers, Bloom flowers with the vitality of noon. In any case, what stands out is not the opposition of the opposites—light or darkness, analog or digital, body or soul, order or chaos, love or hate, reason or passion, micro or macro—but the energy unleashed that still belongs to the source, to that principle that the ancient Greeks called ocean or night—the origin of all things and of all the gods, where a certain primal indeterminacy of opposites reigns.