In this group of exhibition panels, there is a monochromatic rectangular geometrical shape, executed with the use of wood with regular edges that is repeated. The surface of which is covered with oil paint in rough
textures.
This shape appears within a scene reminiscent of the street that continues in its extension among the buildings and trees until it reaches the vanishing point. But it is also a scene in which the two-dimensional
surface of the painting turns into an illusion of three dimensions, where its details remain clear at the forefront of the painting and shrink gradually as it gets distant.
The rectangular shape intersects with the surface of the painting. This is represented by an area that is more like a flowing river or a sea whose waves follow while the perspective of the painting takes two forms: The first is vertical. It was implemented in a perspective format in which the phenomenon of fading at the horizon was achieved in a physical way and not through an illusion. The second is only two-dimensional. It is the horizontal surface of water whose waves are repeated without shrinking due to its proximity to the horizon. This is because it is seen from the perspective of the bird’s eye. We now have a meeting between two perspectives that establish a magical ritual in the work. It also acquires an added value that is achieved through the colour difference between the elements showcased in the geometric shape and between the different colour layers superimposed on each other.
The geometric figure, with its upward movement, gives us the impression as if it were an endless ladder ascending to the skies. Or that it is like the sun’s rays penetrating through the clouds which is usually represented in the hidden meanings of classical paintings.
I applied the colours to the surface of the paintings by striking it with a metal or plastic ruler infused with paint for it to take a different shape from the use of a brush. This technical solution helped me achieve long and dynamic colour spaces in movement as is the case of river waves or water flow, which made the horizontal rhythm of the colour on the canvas intersect with the upward movement of the vertical geometric figure. And in the event of its refraction - as is happening in some paintings - it helps to establish the opposition in direction and texture of the surface, which is the water.
