0104/22
2022. Charcoal on canvas. 165 x 132 cm.
[FRECUENCIA 146-219]
Aythamy Armas
Aythamy Armas
“That space and time are only forms of sensible intuition, and therefore only conditions of the existence of things as phenomena”.
Immanuel Kant, Critique of Pure Reason, 1781
The idea of time and space where everything exists has always been present in human thought because it is part of our daily experience. However, and in spite of the time that we daily inhabit in our own and other people’s places, both our own and those of others, we are not aware that we are precisely the ones who build that space through our presence and experience in it. Somehow a kind of appropriation of the place is produced, a connection with the environment that surrounds us.
”My work focuses on painting, in its possibilities and in the construction of compositions from the values and qualities of paint itself.
I understand painting not only as a medium with which represent reality, but as an end in itself.I see it as an autonomous element that, through its gesturalism, the strokes and the different graphic and aesthetic resources allows us to build artworks to travel through.”
In this conceptual framework, Aythamy Armas proposes to materialize his work space in another space as it is now Alzueta Gallery. The symbolic transformation of this place of transit into an inhabited space is physically configured through the presence of a series of pictorial works, photographs of the creative process and aromas of the materials, which stage the artist’s own studio.
Through a visual and olfactory sensory experience, Aythamy invites us to enter his personal, intimate and reserved space in order to make it our own, to inhabit it, to live in it, to make it also ours, to share it, awakening our conscience awareness of the time we are passing through and the space we are now occupying.
Aythamy is certainly a prolific conceptual artist, always exploring different ways to interpret reality. The development and impulsive plastic execution of his work through a drawing liberated and full of expressive elements of pictorial language – texture, stroke, stain, light and shadow – can trigger complex and subjective associations. Thus, we could say that rather than abstract, these forms that Aythamy creates live in the world of ideas much more than
in the physical. His works transcend their own objectual and aesthetic existence to acquire a certain significance, as does the frequency significance, just as frequency is represented
graphically by waves.
As if it were a semiotic research, the continuity or discontinuity of the strokes without that we perceive on his canvases and papers, a series of premeditated operations that explains how this undulatory phenomenon “connects” us in time and space at a certain frequency: 146-219.
Jaime López Pestaña
