Seascapes, Beauty repairs

Seascapes, Beauty repairs


Beauty repairs.

Seascapes is a reflection on light, color, matter, space and time.

We all keep an image of the sea. An image that accompanies us throughout life and that is a reference of serenity, peace and tranquility. The sea catches our gaze, perhaps because of its changing nature. We never look at the same sea, just as we never bathe in the same river (Heraclitus), as its waters have changed and we too.

The technique, learned from seventeenth-century painting schools in Kyoto, consists of the gentle sedimentation of mineral pigment in layers, in such a way that the light is reflected in a different way at each moment generating different images of the sea, along the day, throughout the year.

Seascapes is a proposal, for a moment of intimacy, introspection and personal repair.









“…So what has come down to us are only shadows of the original, from which a dog emerges as the most enigmatic presence of all. Thanks to the photos of Jean Laurent from 1874 and the studies of Foradada, today we know that some birds fluttering around the animal are missing. A fact that does not clarify the reason for the scene and the paucity that have made it the most modern of the Quinta. The history of art has launched hypotheses as curious as they are disparate, and almost all of them end up in the drama and anguish that this image provokes. And in that lack of explanations and in that need for them, each spectator looks at the painting with their answers and when doing so, what it returns is a reflection. Because he looks in a mirror.”

Riaño, Peio H. (April 1, 2020). Goya and the unsolvable mystery. El País


“When I think of art, I think of beauty. Beauty is the mystery of life. It is not in our eyes, but in our minds. It is our response to life. It is in our mind that the consciousness of perfection is found.

The value of art is in the viewer.

When you discover what you like, you are really discovering yourself.”

Agnes Martin


“The smell of a good turpentine balm is mild and aromatic, not pungent. Freshly rectified turpentine oils should leave nothing on a white blotting paper but a rapidly evaporating stain, but no residue at all. Turpentine oil is the solvent and thinner for oil paints, resins and thinners.

Therefore, it is not a binder, it does not have any adhesion force, so it cannot exert any adherent action of the pigments on a background.”

Doerner M. (1921). Malmaterial und seine Verwendung im Bilde. Ferdinand Enke Verlag, Stuttgart