- Series [mosses]
- Mixed media and gold leaf on canvas
Work at Estampa Fair 2021 with Helarea gallery. [mosses] is a subtle conversation of elements.
A contrasting dialogue of emptiness and broken dryness is presented against a proposal full of life and humidity of organic and earthy tones that produce an unconscious approach of the viewer. He feels identified with the feeling of home produced by the perception of natural elements so close and present in his memory that he can freely dive into his exploration, entering a state of serene contemplation, linking each time with a memory or sensation that permeates everything. Being. The continuous movement of the fluid forms against the stillness and rest that manifests the balance of forms also contrasts with the presence of emptiness against the overabundance of information in textures and details.
Working on the singularity of minimal perception in relation to Marcel Duchamp's infralight concept, object of his doctoral thesis, which refers to the beauty of the unnoticed, either because it is of slight, fragile or imperceptible presence, or because it is of absent presence, that is, it manifests from an indication or trace that reveals something previous and not physically perceived. Focused on the manifest grandeur (opus magnum) of extreme tenuity (suma tenuitas), Pliny's original expression, Elisa seeks to highlight the beauty of the unnoticed, such as the subtle shine of a sand crystal or the color created by the accumulation of dust. , but also of the absent presence revealed by the history of the cracks and breaks in the painting.
The experimental technique crystallized painting provides a wealth of delicate textures that require the attentive contemplation of the viewer. If since Malevich the culmination of delicacy was reached, stripping the painting from the reduction of white on white, the infralight perception that Elisa proposes is to highlight the small insignificant sparkles that make the overwhelming emptiness of white, of the desert, unique. disturbing, of the infinite sand.
In the void lies the pure possibility and, in this apparent nothingness, it is worth highlighting the beauty of the minimum perception of the imperceptible.