Susana and the elders
Abstraction of figuration through pure geometric shapes
The figurative art in my works starts in several stages, beginning with the years of the academy in which I interpreted the compositions that were made in the workshop and in which the game with geometric shapes was only linked to the process of synthesis in the sketch. Learning the techniques of drawing and painting through still lifes and portraits with live models, is a method that generates a lot of interaction between students. However, that learning usually becomes very mimetic and it is only when we realize that, our imagination chooses to get rid of the usual mode of representation to experiment more with the expressions of graphic language, which in my case derive into geometric shapes.
Whenever I am interested in representing some abstraction based on known forms, I start the sketches without leaving the figuration. For the representations in paper I use broad strokes without emphasizing the details, only in those that can serve me for the geometry to be used in the drawing as a whole. When I already have the preliminary sketch, then I begin to create the geometric figures that in many cases follow the original form.
Susana and the elders / Oil on canvas / 30x40 in.
Among the lights
Elements configurators of space
Tonal and compositional study
Among the lights / Oil on canvas / 24x30 in.
View of a seascape
The fragmentation of form and the use of perspective in figurative art
One of the peculiarities of abstraction in my works is to decompose the forms by dividing them into segments. Through straight lines, squares and circles I can create separating and auxiliary elements that fragment objects in space and at the same time make up the whole with new shapes.
Figurative art makes use of geometric shapes to abstract the reality of objects in space and be able to represent them aesthetically in front of the observer. However, the formal use of geometry in my works has a more abstract interest than merely figurative.
One of the subjects that I have preferred to show my interest in geometric shapes is the representation of interior spaces. In interior spaces, the perspective is reinforced with the windows to provide greater visual depth to the scene. In this publication I placed two representative works of interior spaces, in which one of then projects the view of a seascape and in other an urban landscape.
Study of perspective and composition
View of a seascape / Oil on canvas / 30x40 in.
Magdalena, among city lights
Magdalena, among city lights / Oil on canvas / 30x40 in.
Fractions of nature
Arbitrary distribution of lines and forms
Fractions of nature / Oil on canvas / 12x16 in.
Preliminary sketch of shapes and tones
Oculus / Oil on canvas / 30x40 in.
Game of machinery series
The industrial landscape in figurative art
Industrial machinery was one of the subjects chosen to experiment with geometric shapes in figurative art. In this way, the composition is created by geometrically decomposing the parts of the central element and incorporating parallel lines as part of the background. The game of machinery series, shows all these elements without neglecting the use of pictorial technique based on the application of diluted colors such as brown, green and ocher.
Figurative and free-form sketch