Ink on paper, sublime landscape, surreal landscape, cube, art, painting.

Nothing in the Void - new concept in contemporary abstract art

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 techhniques which intertwine with each other, just like my narrative intertwines with my bidimensional representations – my paintings. For this, I created the theory of ergon-realism to base my creations on.

Art should be the pure manifestations of human conditions, just like what 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 soon become obsolete due to its lack of an open and innovative attitude vis-à-vis a 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 outside 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.  Historically, art used to be accessible to the fortunate few, a situation by and large unaltered today. However, we can see that this is changing, especially in how art, for example a play can be brought to the farthest corners of Chile without it 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.

From 2011 onward, I have been further refining this idea through my narrative and my paintings and shared them with all walks of life in various regions of Chile through 2011 and 2012 (Coquimbo, La Serena, Los Vilos, just to name a few where my art was part of urban interventions carried out by cultural organizations). I was invited alongside Chile’s national art prize winner Guillermo Núñez as well as Mexican artist Uriel Parker and Chilean artist Martin Astorga Camus to be part of the tour “país (country)”, in which we bring our art to unconventional places, taking the initiative to approach towns, masses and cultures to flatten the playing field for all.

Ergon-realism, a theory


Ergon-realism arises out of the dialectic juxtoposition of “ergon” (energy) and realism (reality, of being real), and refers to all 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 bump into one another, creating new shapes and images, as if each has a life of its own…

Nothing in the Void, a narrative


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

There is a planet called Ergon, far, far away from our solar system and found in the first order of ray of light of creation at eons of distance away 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 a hostile ecology, full of constant danger for their dwellers. In the nature full of extraordinarily shaped (almost shapeless) things are beings composed of pure matters and a divine, almost perfect energy, which live in endless battle with one another.  

These beings constantly shift 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 can 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 once experienced.



The author is represented as an excentric character, a floating head known as Bosch.

In the interstellar space of dreams, Bosch receives all kinds of information about other worlds, planets and universes – including planet Ergon through narrations of Nur, the androgynous being made of light from the world of stars. Bosch, the loyal apprentice from the world of dreams, learns about these fantanstic stories and recreates the divine images in the physical world.

Bosch is composed of the same matter as the stars, a subtle material similar to one which makes up the physical world. The material is extremely compact and sturdy, although with the right knowledge it can come apart and become ether particles, weightless and volatile.

This is the only way in which the author can know and see these worlds and lives: by going from the real, physical world to the world of stars and dreams. Bosch enters lucid dreams, exploring and living in the realm of stars, experiencing the real as a fantasy, and the fantastic, as reality.

In this way, Bosch can freely and unconditionally manifest himself and reach the limits of the inifite universe, reaching the most unbelievable worlds never seen even in imagination. For the author, these worlds have already been inhabited in eons at the beginning of time itself, when the un-manifestable manifested itself by creating the world of today – a living universe.

Hence, Bosch is a loyal and steafast apprentice of beings that inhabit the world of stars. Bosch is the favorite of Nur, the androgynous being of light from the tribe of the Haddits, who teaches him to travel through universes and faraway worlds. So deeply in love with Bosch, Nur’s presence is felt even in the physical, real world and the two remain in constant comunion…

Nur, art on paper, pastel on paper, woman portrait, woman painting, fantastic woman, art gallery

Nur, beloved being of light


Nur is one of the main beings of the tribe of Haddits in the world of stars and dreams. There are many other beings, excentric characters of inifinite shapes and magical powers that approach Bosch, filling him with information, theories and stories, some true, some wrong, and some downright dangerous to inspire in him envy of Nur, the androgynous being, beloved of Bosch.

Such is the case of Irisa and Iafa, two jealous sisters that make it difficult for Bosch to have experiences and communions with Nur. Always hampering the good intentions of Nur, they try to prevent the love between these two magnificant beings, distorting the precious information and images.

They are also the ones that show Bosch the farthest corners of the Absolute devoid of all light and divine will, taking him to dark and gloomy places of evil and unbalance.

Yet, let us speak of Nur! Nur is an almost flawless being due to its physical-chemical compostion. Made of the same material as the world of stars – a subtle, volatile building block almost entirely composed of ether, a pure, almost perfect material, one of the main ones that make up the universe.

Nur has the abilty and possibility of becoming ether, the volatile material that can change its shape and phsycial-visual appearance. It is told that Nur could have ten thousand shapes and is known as the “being with ten thousand faces” in its own world.

Nur appears and desappears as it pleases, changing shapes so many times that even Bosch is confused sometimes – which is taken advantage by Irisa and Iafa to show him their infernal and chaotic worlds in the darkest corners of the universe, in places untouchable by the Absolute.

Many times, Nur takes the shape of a woman, an old man, a child, an animal, or simply a beautiful spark of light; however, the most usual form is of a beautiful woman, like an angel, a fairy, composed of countless sparks of light that come together to form her body and become visible before the eyes of her beloved Bosch. Many times, Nur travels to places closest to the Absolute, closest to the perfect worlds and sometimes arriving at planet Ergon in the form of a spark of light through tunnels of time to eons of distance from earth and from the world of stars.

Bosch's prayers



To Nur, my divine spark, my sun, my inception, the world of my subconsicousness that I
have always sought, the paradise I have always dreamed of returning


On the canvas, the screen onto which I project my soul
in order for yours to become visible
On the canvas, Plato’s cave, where the only fire
reminisces that the physical world is
but an illusion

On the canvas, the rabit’s hole in Wonderland
into which you fall, through a black hole into a parallel universe
only to shipwreck on the other shore of time

On the canvas, the sleepless dream of Zhuangzi

in which you are the butterfly, and the butterfly, you
where a flower guards the secret wisdoms of an old child


Into my canvas, you enter
where I lose my way in a delirum
and bump into my other self, in another world
where lines run
where forms bleed
where deconstruction is the force to create

On my canvas, you play
setting free Kandinsky’s circles
crowning Miro’s madness
I whisper in the eras of Van Gogh who lives inside me
that even the darkest night of the soul, is not without a star-studded sky 

On my canvas, you leap
I fly, free from the chains of reason that tie me to my earthly cage
toward the self, lying dormant in my subconsciousness
in my memories, and in yours

On my canvas, you float
I sail in your world of energy and particle, under the sea
filled with memories of a world prior to all the worlds
before Adam takes his first breath
where imperfections had not been dreamed of

On my canvas, you crucify
stripping me to my enchanted soul,
nailed to this cross like a cursed matyr
like an old man with enormous, feathreless wings

On my canvas, you stand witness
to my strokes, not with oil, but with my own blood and tears
where my soul is laid bare, not with paintbrushes, but with nails
where I give up my first-born to God, as sacrifice to the divine spark
planted inside me, like a seed
for it to shine, and light up the world



To my canvas, you return
a cloudless sky, like the pupils of an angel
like the sigh of an elf,
like a lightening on a summer day that glimpses the apocalypse,

And beyond,
rests my tired and tormented soul

In my canvas, you stay, as my destiny
has lost its way. I am
A work in progress,
A particle in creation,
A movement, without stop.

In my canvas, you search

and you find. You encounter yourself,
and I, myself.

In my bottomless universe, my infite world,
empty, yet full;
we are nothing,
yet all.