2007

HONEST AND HONEST LIE D MENTOR

In my middle name, MendTorr, there is a similarity with the word lie, which is the action I do in my paintings, taking this into account, there is also a remarkable analogy to be referred to the experience of childhood that we received a lot of lies by authority figures to hide certain truths about various topics, we grow touches discover and know the reality, and taking into account the art I make, a product of illusion and imaginative journey, "Mentor d Lie" contains more fully the essence that defines my work. explored further consider those elements necessary for the theoretical framework, mention of some studies of Freud, he noted that humans are motivated by two main instincts: self-preservation and libidinal satisfaction. Such instincts are not normative social laws than satisfaction. This drive for satisfaction is a destructive force, to be neglected only violence and death would result from uncontrolled motion towards the fullness selfish. So Freud says there is a need for social order and civilization repress these instincts, to make such a civilization can be addressed and controlled. One of the primary means for doing so is what he called "sublimation." This term means that all repressed material is "promoted" to something higher, or is disguised as "noble." For example, sexual concerns can be given a sublime expression in the form of artistic aspirations. Art is a primary form of sublimation, Freud wrote: "sublimation of instinct is a feature minifiesta particular cultural development, is what enables high psychic or artistic activities play an important role in civilized life. "substitutive satisfactions as art are illusions in contrast with the reality that what we want is satisfaction, and even" there is no possibility of carrying out, and that all regulations of the society are against them. "So we are made to derive enjoyment of illusory forms of lies. Another essential philosopher whose theories about art often speak of morality and rationality, and are important input for me, Friedrich Nietzsche. Your critical eye in terms of Western civilization was inspired by a desire to affirm what he understood as source of life, a kind of primordial creative power beyond rationality and beyond the moral categorization as good or bad. Noted that Western civilization was in decline because it had exhausted the life force, giving power and authority to those who fear. Art is central to Nietzsche's thoughts about the decline of Western civilization. For him, the art is able to suggest an alternative to the declining rational life, art, says in his book "The Birth of Tragedy" which is "the highest task and truly metaphysical activity in this life." In this book, describes a primordial life force, emotional and rhythmic that the Dionysiac names, from Dionysius, ancient trickster god wine, and the orgy of violence. Contrary to the view you have on ancient Greece as a world of harmony and rational order, Nietzsche declares that Greek culture existed in the tension of 2 opposing forces: on the one hand, the forces of desire Dionysiac amoral and "happy ecstasy" intoxicated, and on the other, the forces apoliniacas (the Greek god Apollo) moral and sober rationality. Apoliniaca force is the order, the Dionysiac chaotic force is above the order of civilization and is the creative source. Nietzsche believed that in the centuries since the ancient Greeks, Western civilization has gradually repressed the Dionysiac, leaving predominantly apoliniaca modern society, devoid of creative energy and decadent state.
"Modern man" he claims, "is just a forgery of the sum of cultural illusions that are supposed to nature." therefore, rather than simply walk calling for the replacement of one another, their definition of art is contingent to an ever-changing dynamic relationship between apoliniacas forces of moderation, disinterestedness and dissimulation and Dionysiac forces of intoxication (the dissolution of the individual to the collective sphere), intuition and the delimitation of the human subject. The artist maintains a relationship to the "primordial world artist" and this relationship is revealed to the artist to be both "subject and object, at once poet, actor and spectator." Also considers that the "reality" external be valid only as an aesthetic phenomenon, Nietzsche defines the aesthetic experience rather than what happens in a privileged area and isolated existence, but as the same experience of living founder. It is in and through art life can be experienced as such, the appearance of this system of thought more interesting to study art history is like Nietzsche theorizes the interdependence of these poles opponents. The gap between subject and object, appearance and truth, and Apoliniaco Dionysiac, is crossed by what he calls an "aesthetic relations."
It is art that moves between the spheres of Apollo and Dionysius, is art that keeps the possibility of "continuous rebirth" being at stake, this is accomplished by the reluctance of aesthetics, which does not boast to know the outside world on their own terms. Instead, the aesthetic sphere, for Nietzsche, is determined by the Dionysian motives of the artist as opposed to spectator-that is, the "true artist" who refuses to deny the intuition that there is something beyond the world of look and awareness one. Although the aesthetic can not represent the thing-in-itself is able to build a relationship with "the mysterious X of the thing itself." this "mysterious x" should remain inaccessible and non-representable but through art, feel her presence, thereby us bottling the concept of experience that Western civilization has inherited from Platonic idealism. It is a nihilistic play seriously "that allows Nietzsche present the relationship between aesthetics and Dionysiac apoliniaco as that which has the ability to affect" the illusion of redemption. " as well as the world is designed by an artist, Nietzsche redefine art as an impulse, a force or rhythm "continuously expresses an ardent desire to redesign the world that presents itself to waking man, so you can be as colorful, irregular, lacking in results and coherence, charming, and eternally new as the world of dreams. " Putting it simply, the metaphysical is the aesthetic in the work of Nietzsche to the extent that there is no simple binary opposition of appearance and truth, the truth is through the rhythm of intuition and language, music and image. This intimacy between intuition and image allows you the opportunity to declare that "art is worth more than the truth" and that "we possess art not to perish of truth." Finally, there is no better addition to the poetic words of Nietzsche: "Thus aesthetically sensitive man remains in the same relation to the reality of dreams as the philosopher does to the reality of existence, he is a close and willing observer, these images allow an interpretation of life, and think about this process is training the same for life ", this leaves one in my MRI this according to the art and me is a means of knowing oneself and at the same time to the world. But also a fact that called my attention and leads me to go in another direction necessary to highlight in this essay, is the reality of the dreams we mentioned, the representative theorist of Surrealism, Andre Breton once said: "The mind who plunges into Surrealism, relives with fervent enthusiasm the best part of his childhood. " The child within the art has been the recipient of several theories that deal with very important because it brings together defining characteristics in relation to existing ideas about the creative process to create works of art. Enough has been said about this stage of man, Pablo Picasso said: "Every child is an artist, the problem is how remain an artist once we grow. "Respective fact has an unquestionable validity and that really has generated an analysis produced by theorists and philosophers in his work make clear ideas detached approach to this issue. Another consideration to make is a phrase expressed by Freud, "the child is father of man" which is easily determined that during childhood the human being forged to meet their potential later in adult life done in the first instance formed from childhood. Nietzsche, was the declared that create and destroy without any moral responsibility in the world only has innocence and helplessness of punishment in the games of an artist and a child. On the fun side, the object and artistic fact lie beyond the dichotomy between good and bad, relevant aspect was already referenced above. The arts are the realm of the eternally inventive child, Heraclitus, in his philosophical writings referred to as the world imagines the course of a child playing with dice on a board, on the same board have continued to surprise artists in playful movements. This brings me to the relevant theories that have been raised about the practice of art, which are to be defined as an activity in which to exercise creativity arise fictional worlds enlivened by the vital capacity of human mind. Such a theory is founded with the first expressions of man when he appeared on earth, that like the animals reacted by issuing noise, shouting and gestures of instinctive nature to ensure their survival and which gave use to warn of danger, the proximity of the game, or even reflect the outside emotional states of grief or joy. The relevance to all humanity of this fact is when I play this, when hominids children imitated their identical copies of older leaders, began to represent the expressions on their way to back like the inevitable result of illusion and deceit, a game that consisted mainly simulate the screaming, noises and gestures that expressed such a danger near or the proximity of the hunt. This time the man originated in the emergence of language, and with the rationality that enables man to control his own instincts and turn signals on spontaneous and instinctive artificial signs, intentional and representative could control as they see fit for the situation they are. This theory is classified as an animal man lying, this being a game of voluntary immersion in a fictional world invented, is the root from which arises the ingenuity and creative intelligence, and that its involvement in the representation of images participates in a fun atmosphere peculiar to the human condition. In the respective environment observer interprets and identifies an image not as spots or lines that is formed, but as the reality that evokes and refers to identifying knowledge elements that depart from the mind of him. During the first signs of drawing in children can see a genuine expression executed purely playful and exploratory, free of their interest in and have fun playing, but the product proves to be a series of strokes that can hardly be controlled. As soon as you can hold a pencil, the child experiences in tracing functionality this set of doodles on any surface depending on who is at your fingertips. What draws on paper, in the early stages the drawing, represents or replaces a reality if the child in his fictional world so chooses, although the drawing does not save hardly any figurative relationship with reality that it represents. The absence of critical, rational criteria, great imagination and innate willing suspension of disbelief, allows you to make this identification in his strokes and reality. What is known
distinguishes man from animals is the capacity to not be swayed by their instincts, being able to bring these events to further criticism, reflection and evaluation, the respective data previously analyzed by Gombrich now occupy a place in the minds of artists who wanted to deepen regarding the representation. Considering this in art, no nomas can be understood as an expression, but as a representation of another fact or fiction, as for example in the painting, we simulate the different realities that exist, that deceive the viewer through the structured nature under illusory characteristics that make up the universe created by the artist, whether painter or poet is the fact that the world is created with playful creativity is taken very seriously by them and by an infant wrapped in his imaginary game milieu of is created. Referencing the above is too much emphasis on lies, Picasso stated: "From the point of view of art, no concrete or abstract forms, there are only ways that are lies more or less convincing than others, "but a very clear example of this belief showed a well-known occasion when a man approached him asking why he was that was no longer realistic art, Picasso replied "to see, give me an example of realistic art, the subject of his book jacket photo of his wife and Picasso show it to her claim:" Very well, then you're telling me that your wife is just a bi-bust dimensional measuring 3x2 inches and is monochromatic ", so latency is an idea that is often not taken into account, as designated as a realist art is a visual trick, not really there, there is only pure painting on a canvas whose emulate color images captured through the eye and understood by the mind as "real."

Mentor d Lie "is the name of my artistic statement that supports my work theoretically, is related to the words of Pablo Picasso:" Art is a lie that leads us to the truth. " This idea is clearly seen in my development work focused on the self, and generally doing what I appear in the paintings is to use my imagination particular which produces illusory and unreal images, or lies, which are externalized and to prove honest and authentic show feelings, thoughts and ideas on relevant issues such as universal religion, sexuality and death as well as situations everyday character in relation to school and family. Gender
a realism that does not focus on reality, if not in what I think of it, the realistic environment that is in my paintings into the background thanks to the fact that I have inside my mind escapes and returns visible and tangible my truths. The art walk is not about applying rules or canons of what is popularly known as beautiful, when you carry this out then it is slowing the mental capacity of the artist, and art should have no limits, apart from that there is a superficial idea the people of that beauty in art is shaped by the aesthetically pleasing picture, you have to put aside this idea and replace it with a kind of painting that narrates a real consciousness, caused by a brain that conceived ideas beyond any rule or canon. It is through the technique at their disposal, is through his vision of the world that the artist creates images of momentous significance and value.
The "objectification" is not the ultimate goal of art, there are bigger things than the object. What I think is bigger than anything else is the human mind, my work is shaped by mental images of the reflections generated from a search for truth, to question and challenge what the world presents to one and not settle for printing the first. What I do is take the ideals and values, giving them a spin and make them look differently for coming to be questioned and are not taken for granted, which I think it enriches the landscape of public audience, raising different parts of the unconscious would not normally. The mind's eye sees beyond simple appearances, in its infinite radiation and not in need of vision optics preserves the key to the truth. Is pertinent to mention the paintings that I do which I like to describe as containing truths tiny lies enormous. This is because these drives are substantial and referenced images that reveal the thoughts and express views different from those traditionally used by the Company, thoughts come to light themselves and honest without being affected by aesthetic concerns, rigidly moral and rational atmosphere prevailing in the everyday and common.
reflect issues that are intensively explored to see well beyond what one sees, to quote Picasso finally back with the phrase: "if there is only one truth, it would be possible to make hundreds of paintings on the same topic" with which I agree enthusiastically.
-MendTorr