Diego Pujal | 02.27.2014 / 05.24.2014
I et and
02.27.2014 / 04.19.2014
OPENING: Thursday the 27th of February at 7 pm
«Pictorial thought is not linear; it sees surfaces, images, maps and diagrams. It draws no conclusions, on the contrary, it only sees connections, relationships, references and analogies». Otl Aicher, Analog and Digital
The paintings that Diego Pujal presents in I et and suggest a series of indeterminate spaces that unfurl several layers of meaning. They are based on a configuration of internal pictorial codes that ask the viewer to stop and conduct an exercise of prolonged scrutiny.
The workflow used by Pujal to complete this painting project is built on a game between time and space, which, after being taken through a continued and repetitive application of layers, ends up condensed into a single pictorial image. It is a game between the synchronous and asynchronous that does not stop with the completion of each painting, but shifts its focus toward the viewer who will continue imagining a multiplicity of variables that always contain a powerful metaphorical charge. This process reminds us of the construct that Georges Didi-Huberman developed about what we see and, in return, what looks at us. We are not just looking at Pujal’s paintings; they are, through their ability to awaken our “involuntary memory”, looking, as well, at us.
Diego Pujal’s paintings refer to different and multiple variables that end becoming spatial paradoxes; they seem finished sometimes, and, other times, unfinished; they seem accessible sometimes, and, other times, inaccessible. All this makes them turn into spaces of confrontation and coincidence. Space, time and place are concepts that, in advance, seem difficult to imagine on the same plane. They appear in his paintings spurred, however, by the necessity to form relationships apparently impossible.
Òscar Padilla. Febrero 2014.
Homunculosis of Signs
04.24.2014 / 05.24.2014
OPENING: Thursday the 24th of April at 7 pm
The unintelligible sublime in relation to language’s illegibility.
The spaces in-between, like that silence that shows its own aesthetics in the mandatory fields of the sign’s vacant space.
Unfinished forms that embody a virtual language, one that is closer to otherworldly tautologies (an illustrated alien alphabet), that bases its formalization in an inherent irony that is able to say something with nothing while taking into account the signifying and insurmountable incompleteness of being-in-the-world.
Homunculi as chewable organs (not chewed, but desecrated), which, by themselves, constitute the magic circle of impossible language, that interstellar Druid gathering that, with all its irony, is going to decide the forthcoming developments of the most complex sign crisis.
A work that does not pretend to uncover a solid reality, like the trigger that saves us from the anxiety of emptiness, but that acts as the only ludic element that fits the organic playground of postmodern irony.
As viewers, we are left out to discover a poetic world that shows the irony of a Kantian beauty, the forgetting of a manifested impossibility; the impossibility of a total exclusion of the subject, the existence, per se, of a thingy outside.
The truth is, it is worth it.