Nothing in the void and futuristic landscapes

Nothing in the Void - new concept in contemporary abstract art

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This project was born out of a realization that the majority of artworks, especially abstract works, lack a clear guide for the audience to understand them adequately or indications of the artist's intent. To change this, I started writing a literary fantasy to capture my own world of dreams - a collection of stories that set the reader-viewer in a state of reverie and delight with oneself.

For inspiration I draw from the writings of countless authors, esoterics, magicians, alchemists, religious thinkers and cosmologists, such as the Four Moons Theory of Hanns Horbinger, Beezlebub's Tales to His Grandson by G.I. Gurdjieff, Fragments of an Unknown Teaching by P.D. Ouspensky, as well as theories on Zen cosmology, science books (especially about other planets) as well as science fiction works.

I also examined color theories to learn how to create certain sensations and specific moods in the viewer, based on the philosophies of color of Lin Yun and color therapy techniques that aim to create harmonies through each piece.

 Like Tolkien, I started by articulating theories and techniques which intertwine with each other, just like my narrative intertwines with my two dimensional representations - my paintings. For this, I created the theory of ergon-realism to base my creations on.

 Art of the human nature, Gabriel Matthey Correa argued in his Cultural Management Model for Territorial Units in Chile, that a "knowledge-based society" will give way to a "creativity-based society" in the 21st Century, as the first will become obsolete due to its lack of an open and innovative attitude vis-à-vis to constantly changing world. Henceforth, there is no physical, intellectual or emotional limit of the sphere in which we live and breathe. I wish to not leave any possible audience of my art, which is why I have been careful in creating my narratives and my visual pieces to be as inclusive as possible for all types of audiences regardless of their social and cultural backgrounds. I want my work to speak to all walks of life: children, adults, intellectually inclined or not. I believe the time has come for art to cease being an individualistic soliloquy and instead, become an interactive space where the viewer is invited to re-create the painting alongside the artist, having free reign to expressions and perceptions.

 

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I also examined color theories to learn how to create certain sensations and specific moods in the viewer, based on the philosophies of color of Lin Yun and color therapy techniques that aim to create harmonies through each piece.

 Like Tolkien, I started by articulating theories and techniques which intertwine with each other, just like my narrative intertwines with my two dimensional representations - my paintings. For this, I created the theory of ergon-realism to base my creations on.

Historically, a situation by and large unaltered today. However, we can see that this is changing, especially in how art, for example, to play with the corners of Chile without being subject to the capital-centered development, with cultural and financial resources to make it happen. Art is a need, a kind of nourishment, just like air we all need to breathe. Art is to culture what air is to life.

 It is with this belief that I embarked on my artistic journey in my teen years, with the aim that art and culture be enjoyed by all. I have since then focused on simple (not simplistic) and concrete works with depth and technique, which can allow the viewer to dream and fantasize with them without feeling shame nor having qualms about who we are inside.

Ergon-realism

Ergonomicism arises out of the dialectic juxtoposition of "ergon" (energy) and realism (reality, of being real), and refers to that is energy and movement in reality, which is then captured and rendered through images, landscapes, flows, matters , beings, etc in an dream-like world created by the author.

 
One of the key features of these images is that they reflect light, energy, vitality as well as constant movements and vibrations. There are multiple forms of expression - lines, points, repetitions of large shapes that cross each other, mix together, move and move into one another, creating new shapes and images, as if each has a life of its own

Nothing in the Void, a narrative

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Nothing in the Void consists of interpretations of subjective and illusory images inspired by the author's sensations and memories:

 There is a planet called Ergon, far, away from our solar system and found in the first order of light of creation at the distance from us, in one of the many universes of the first order, created by the highest , the absolute unity, or God.

 On this planet thrives to hostile ecology, full of constant danger for their dwellers. In the nature full of extraordinarily shaped (almost shapeless) things are composed of pure matters and a divine, almost perfect energy, which live in endless battle with one another.

 These beings are constantly changing shapes, taking on new ones in order to survive. They irradiate energy - constant light and vibrations that are expressions of their raison d'être, their nourishment and their way of reproduction. Their tireless struggle with other living things - fixed or weightless, dominate planet Ergon.

 Few beings in the solar system and from earth can reach that realm, except in physical form. Nur is an androgynous being, made up of light from the world of dreams where the Haddits live - one of the many tribes that dwell in the distant planet called Earth. Nur is one of the few beings that travel through the universe, to the Second World and to planet Ergon due to its purity, its divine light, its physical composition. The trip takes a split second, and Nur travels with the images and all kinds of input from the inhospitable and faraway place.

 Nur of the Haddits is the one that relives and teaches all things about the faraway place to the author, who is represented as Bosch, consisting of a floating head without a visible body. Bosch learns all about other worlds narrated by Nur in lucid dreams he has experienced
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"Nothing in the Void" opens a new path into the inner world of artist Mauricio Paz Viola. His images, colors and pictorial narrations awake in us dormant worlds in ourselves. We find ourselves naked to the soul, without conventions nor preconceived notions to invoke, and hence forced to come up with our own responses to our ephemeral landscapes.

 If all the atoms making up the physical universe are mostly empty spaces, what, then, is our world but nothingness in the void? What will become of ourselves but amalgamations of atom-cosmos of constant movement and change?

 I invite you to take this journey towards your interior, to know worlds we had known in our past lives and in cosmic visions ...

 The series, started in 2011 and in a ongoing creation process, shows my latest development in my own style and a candid search for the inner self. The colors awake sensations that invite the audience to roam the innermost corners of our souls and meet ourselves in a dialogue, in a creative interaction with ourselves.

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