Diamond

“Diamond, why Diamond and not Circle? Why English and not Spanish? Unintelligible. This misplaced girl who sees the simplicity of life in a rhombus and on top of that has the pompadour of making whites, blacks, greys… How unfortunate! If life is rosy, life is beautiful, life is…” — it is grey. With four essential tips. With the whites, the grays, the blacks, with everything… one always there in the middle, forming its own rhombus despite the circumstances, with other rhombuses forming around it.

Technical, aesthetic and conceptual development

My journey began with two artists, Lillian Schwartz and Herbert W. Franke. What will my work have to do with these artists? And, not much the truth. I only know that they were the starting point to start this journey.

These two images in particular inspired me, even though my initial idea was not even similar to the final result, they were my starting point. Both aesthetics caught my attention, in fact, I was planning to make a fusion of both works, but I considered it to be very ambitious on my part and honestly time was never on my side.

Now, perhaps, the most complex thing is to relate it to specific ideas and authors, for the common good, I choose to name ideas and not particular authors, since many texts share ideas with each other, and relating them completely would take me more than 500 words.

Firstly, the general idea that stayed with me the most was that of art as timeless,

a work that remains in its essence despite time. Maybe I also tried to achieve a little

That is, a work that is both your own and that of whoever sees it, and we both perceive different things,

at different times and stages.

On the other hand, a work of art is no longer worth what an artist thinks, but rather needs a certain status to be considered a work. My art is not sold or commercialized. So, can I really call four rhombuses and four circles tracing patterns a “work”?

Herbert W. Franke Lilian Schwartz

In a world where materialism dominates the scene, where a work that does not “pay” is not a work, where an artist does not seek to break paradigms only seeks to recycle those that were already formed, where at the end of the day very famous paintings must be covered, caged, hidden and protected only for their value in dollars and not for their sentimental value… with what face do I look at my work and call it a work of art?

Perhaps in the future - I hope not too distant - art will return to its rebellion and rediscover its thirst for revolution that is hidden so much, those artists who gathered to demonstrate for what they believed to be correct through their works will return and only then will we understand that a collage stuck with needles, a half-damaged brush, a slightly stained canvas and even, like who once did, a coat rack with four hooks in the middle of a room, can be much more lethal than a weapon.