The series painting of “Black paintings” is created between other series of works in these recent months. The idea came from my thoughts and the question generated in my practice. To my thinking, the most charming quality of the blackness is that it reveals the dramatic between representational signs of desolation and lyric statements. Stormy weather can be represented by the motion of the brushes; drama and contrast can be shown by the different tones embedded on Hammerite.
As a trick of metaphor, it is the blackness which evokes the meaning, not the drawings. The Charcoal expression is one signifier replacing another signifier. The landscape is not a representational depiction of a natural subject but to reveal its meaning through its splitting from it’s signified subject. “Black paintings” is not painting mimicking landscapes, but the similarities between this subject.
These images not only give us disordered and impermanent experiences, it also offers different profiles of the image making. These images produced are the metonymy of drama. However, within the sense of the desolation, drama is not an element of what has being produced, but in the process of producing such reality. The existential wonder of the individual’s chance dwells in the uncanny feeling of the infinitude; every element in the painting prefigures finitude and infinitude. It only appears not in a long term contemplation but in a short glance.
My interpretation of stormy weather ideas is all through my recent paintings which have been inspired by artists such as John Virtue, Norman Acroyd, Tacita Dean and John Piper, lyric readings from Charles Pierre Baubelatire and Luis de Camoes. In the making of “Black paintings, one color of hammerite is used on the process to embody the concepts of romance and drama. Black is also a visual representation of the dark, bleak and tragic.
Mario
