Manuel Olivares

The soul and the instinct, often considered as one thing, are very distinct to me. I have always considered the instinct most useful to defense than to creation; like a computer program, an antivirus, ready to go when there's no more time to think...

The soul and the instinct, often considered as one thing, are very distinct to me. I have always considered the instinct most useful to defense than to creation; like a computer program, an antivirus, ready to go when there's no more time to think or, worse, there's no more desire to do it. I consider instinct, not only in art, responsible for automatisms, repetitions ... stasis. I consider instinct the most conservative part of our SOUL. Loads of color, clean, over-excited by their "modernity", alone! What interests me is the way in which my works are placed in the eyes of the user, their "attitude". My work is mainly focused on the urban landscape, plastic chairs, shutters, light poles, buildings, terraces, barriers and everything that anonymously populates our daily vision. The space itself does not have geometrical interruptions, boundaries and limits except in the perception of the beholder. At different distances different realities and therefore different boundaries, as the historical periods and the different interpretations that are made over the centuries. The boundaries between things, the diversifications that take shape in our eyes when we look around us are only one of the many points of view that space offers us. Every space has its present. When I paint I do not think "contemporary". For me, the new is always the result of an individual point of view of a man who consciously lives his time and never an objective that is an end in itself. MANUEL OLIVARES 1. The painting of Manuel Olivares refuses any a priori scheme is not figuration, is not abstract; It is quite detailed vision and sometimes part of a visionary microcosm that obeys rules well precise. If today's concept of beauty has migrated from the canvases to the sinuous lines of organic architecture, if we find the beauty into the furnishing objects or in extreme design or the most exclusive car, it means the artist who is sensitive to the world around him has to capture this rhythm to create a new fusion between object and space. 2. Idea and matter meet remaining perfectly balanced, crystallized in pure forms painted with a virtuosity that is revealed scrutinizing the work of a brush that extends the oil painting wonder light and shadow, returning forms and concepts: reinventing or transfiguring them completely. It can be said that his painting it is conceptual painting and that because it obeys primarily to an order that is mental: the rhythm does not stop and segregates forms but filters and intensifies life. The conceptual side is not an end in itself, is not a statement on rhetoric deterioration of art subjects and the precariousness of his events historical, rather it is the search for a unity of reality not as rational procedure but as emotional feeling of reality same. 3. Manuel Olivares transformation is in everything, even in the objects most mundane, from the tire of a car to supersantos ball, from a plastic chair in an iron railing is a meditation on life of things or their slow wear, on the obscure soul identity continuing inside of things even when their existence is no longer helpful. Leaving from real locations: an Italy sunny, empty and metaphysics and cutting glimpses of Fascist architecture emptied from rhetoric and monumentality, the artist increases the images one inside the other, like in a movie, to narrate the astonishing beauty of this landscape, credible in the emotions just lapped. The eye disassembles and reassembles the vision always taking account of the background, of the three-dimensionality of the image, of its depth of field. 4. His painting has no debt with photography, which happens to majority of figurative and neo-pop painting, that because it is led by perfect architecture of the parties: the center there is always the reality that It can not be fiction and not even caption, which can not be flattened by photo lens. It 's as if most of the images that interest and surprise him did not come from art or advertising or from television, like most of the artists working in our time, but a reality experienced through the love for the cinema, the cinema as absolute metaphysics of the world, cinema as an illusion, as the infinite interweaving of forms and ghosts. 5. The nearly black / white images in fact ensures a minimalism that It does not lead to the purity of the recognizable symbolic form, but rather type approval of the different, eccentric forms below look of a single speech of light, so stripped, uniform and dogged in revealing and veiling the shades of gray, and the the same time, where each color - appropriately lit - It borders the gray and fades in it The black and white: white as stratified ice: solidification, crystallization, freeze, surface melting ... layer upon layer to define his subject, in the folds and bends. Black as shadow, as a line of demarcation, as the border between definite and indefinite. 6. In the layers of the vision is total immersion. The enlarged detail of the back of a plastic chair becomes monumental, abstract, equally geometrical as a building that stands out against the sky: everything in the same space and at the same time, in a shallow depth in which everything is materialized and appears. 7. A plastic chair, a shutter, a car body, they are dissolved objects and then reassembled as you can recompose in curvature of an image under glass or in the illusory volume deformation of a lens, according to an infinite combinatorial logic, a transformation from one stage to another, from one form to allude to an unlimited mouldability. The most infinite and unfathomable of film directors today and always, Kubrick, at the end of the trip into the blackest depths of space, he did find - in 2001 Odyssey in space - a ricurvatura image, an interior inside the inside "a glass that was breaking" and then a fetus that was reborn from Circular egg-shaped image. 8. The uniqueness of his work is all in this hallucinatory vision, in power of objects and their interactions, the ability to grasp with the look the lines of force that unite them and the magnetic fields attracting and rejecting them, the ineffable bond that intertwines and generates energy, the secret and unexplained wave that comes from the states of tension and balance of the representation - In this deformation of the vision that curve and dilates the point of view in a suspended gravity - the arrangement of objects and forms reaches the universal in specifically: the timelessness of the appropriate form. . The strange objectivity to grasp the of the eternal movement. Of what is. The vortex, the trail, the curvature, the thrill, or immobility in the light that is never motionless because the light, by its nature, is known, changes at every instant. Maya Pacifico