“I did not begin Project Origins until the moment when human beings became extinct. The memory I recognise as the pond where the sinister bones from nameless men lie. That was the origin of apes, agitated by a free world. I recognise the movement of fish in the pond. I become sleepy when I follow their silhouette, until it vanishes in the darkness of my lost memory”.

INTRODUCTION

There is a new raid in the background of human values that broaches an atavistic aesthetics, where the earthly, paper and wood as synthetic elements are predominant, by means of abstract expressionism. This happens to occur in a space where fossilised human figures abandon their habitat progressively.

The first step in the search of human essence is to find a link with the purest nature in an evolutive eco-sphere, where the figure of a selfish I-monotheism gives way to extinct primitive figures.

The evolution of “Orígenes” is posed departing from the turning point of the twenty-first century society, focusing on the terrorist attack on the eleventh of September in New York city, which alters our intercultural stability, and it opens a medium/long-term new era in all countries.

It is something that swings in a productive pendulum-like interwar period, where a chaotic metamorphosis with too many social variables does not allow us to discern the end of an era that leaves Homo Sapiens in the open, unable to coexist with his peers and habitat in balance.

A social period when aesthetics becomes evil by the figure of the synthetic man, who possesses too many pragmatic goals so as to hope for a deferential future with his peers.

      “Two-phased rupture”

A naive antagonistic attitude where the future of humanity could be more balanced underlies all this.

This artistic reality I propose leaves this second option in the line of evolutionism, with new natural hierarchical structures.

It is about beginning from the start, as an exercise of humility: nothing but surviving: getting rid of everything in order to evolve and then, losing everything again.

This cyclic sense impregnates all the history of humanity and, although in our project it is not shown as an original artistic proposal, its presence is unavoidable in the collection.

EDEN

 These artistic spaces I propose get more and more synthetised towards the colours that abound in the Universe, showing a colourful amalgam that suggests the formation of young stars, as the prelude to the native synthesis of life.

                                “Predominance of primary colours and earthly textures”

There exists a certain conscious artistic chaos, as the testimony of a fateful evolutive Nature, perhaps a burning desire to establish this factor as the catharsis for a new social posing.

Nevertheless, Nature itself does not understand any moral conditions but it does understand the survival principle. That is why there exists a self-destructive stigma in man´s life: a subtle mechanism, which is able to preserve our planet from such a harmful species.

On the other hand, a constant ambition to own the territory leads man to reach more ambitious goals, surviving in inhospitable places, thus developing his technology and science in an exponential way.

Even nowadays, it is difficult to understand this reality, unless we can imagine that planet Earth is about to end, due to its proximity to the Sun: the star that will absorb our planet completely in a few thousands of million years.

Men will carry on with their desire to survive; at least this is what Carl Sagan would say in his famous novel “Cosmos”: “We owe our obligation of survival not only to ourselves but also to this ancient and vast Cosmos we belong to”.

                        “The figure of a human foetus appears in these works as a symbol of hope”.

The prize of this boundless ambition is the destruction of men´s inheritance and heritage in quantitative terms, as well as the loss of human values, by proclaiming an annoying egoism in our society. At least, this is how History has developed.

Thus, the future resumes its uncertainty for both human beings and civilisation and, although men are partly responsible for their destiny and will, the role of fate is under way.

The complete works of the “Orígenes” collection owns a certain degree of disorder  within the pure abstract expression that it shows.

It begins with the imagination of symbolic elements, such as the eleventh of September in New York city. It goes into an uninhabitable space for man, and then a human chrysalid appears as a symbol of a deep introspection.

There is not any certain destiny; however, trying to preserve some human values could be the right way: perhaps returning to Eden through Nature itself.

                          “Returning to Eden through Nature”.  From the work “Child´s Dreams”.

                                                            THE LOST MEMORY

The idea of lost memory has not got anything to do with the degenerative disease that we suffer nowadays. Diseases such as Alzheimer are the cancer of our fragile brains.

What I mean is a conscious and impulsive return to our perception through a child´s look. During childhood, the purest and most natural human interaction is shown.

Thus, there exists an exercise to unlearn what we have lived, in order to capture the essence of life, by fostering our social relationship. It is this relationship with our peers that has led men to be different from the rest of animals, binding together their neuronal capacity, to the extent of reaching the domain of the territory.

The Lost Memory wants to rescue a more positive social interaction as a powerful weapon that can foster human beings in normal parameters of living together, both in their social habitat and natural surroundings, recovering the figure of the aesthetic man.

The Lost Memory is a return to Eden through Nature: an attempt to recover our child´s perception.

The figure of a human foetus is shown in some of the key works of this collection, precisely as a symbol of this concept that underlies the whole of this art project.

In short, there exists an idea of hope that does not leave the end of the way too far from our best aspirations.

Nevertheless, this idea would unavoidably lead us to the limit of our identity as human beings.

We have the responsibility of surviving to outlive ourselves and future generations that will transmit the most precious legacy we own: our capacity to excel ourselves in society.

“The Lost Memory”

EL NUEVO HOMBRE

We know there is a human being who possesses understanding and behaves at free will, a human being who abandoned his instinct and tyranny in order to be a splendour in the form of an Aristotelian figure, a creator of talent and thought, without forgetting the knowing capacity of other famous Platonic figures. I assume that.

However, discerning about good and evil is a very tense matter to be able to understand each other, if Aristotle will excuse us.

This debate does not exist in Nature: it lacks a conceptual value. However, we can imagine more generous and altruist people, having a more developed humanitarian sense, while in other people, egoism as idolatry underlies.

It is not easy to look for an example of societies where the wisdom of their government organs and magnificent laws cannot be thrown down by the ambition of those who created it.

Thus, it is difficult to expect a new man. If we imagine a perfect society where the laws that rule their functioning can last forever to their members´own advantage, and we could establish a kind of alliance of civilisations, hopefully we would expect the end of this tale.

In the project before “Orígenes” (“Rojo Sobre Humano” ), I tackled the loss of perception of feelings in a society that is overwhelmed by its own pragmatic structure of well-being.

Nowadays, we must assume that a new man will appear in a cognitive process, by means of social interaction of the next generations. Metaphysics becomes sleepy and global communication is giving priority to human relations. It is very difficult to foretell the challenges that future citizens will assume, but it is evident that the territory where men live is suffering from important changes. Man´s well-being will depend on both surviving instinctively and searching for the best relationship with his peers, as well as taking advantage of the synergy of this global relationship to avoid confrontation.

“Traces of the human being”

SYNOPSIS:   CONCLUSION

“Project Orígenes” manifests the loss of identity of human beings who survive in a society which has erased their origins in a space of commercial transactions. Society faces an era of changes and resets the system by means of human global manifestations.

Beyond multiculturalism, it is essential to claim for a space to survive with dignity and to recover the individual essence of human beings.

We must go back to our origins in order to be our parents´ inheritance and our siblings ´ hope within this world, which gave us the opportunity to flourish. We owe our existence to the world.

To cut a long story short, this is the essence of “Project Orígenes”.

                                                                           “Re-evolution”

“Probably all of the organic beings that have ever lived on the surface of the earth stem from an only basic form, which was infused with life for the first time...

This opinion about the origins of life has its own greatness.... because, whereas this planet has been going round and round in agreement with the Gravity Law, departing from such a simple beginning, the most beautiful and wonderful forms have been evolving and keep on doing it.”

Charles Darwin: “The Origins of Species”