todo / nada RAZON / EMOCIÓN
ausencia / presencia
TRADICIÓN / VANGUARDIA
ARTE / DISEÑO
Every human is born in the mix of contraries/complementaries. Only with the union of male and female, and it indivisible amalgam appear the most fascinating CREATION. The creation of another new and reformist human. Starting from this origen premise, it isn’t strange that every creative human activity hides and needs the mix of contraries. Behind every creative manifestation lives a contradiction, the doubt of opting for one of these contraries, without abandoning the other, the longing of emulsifing in same work the two pendulum’s end which we are discussing.
reason emotion The dichotomy between reason/emotion is what interweaves the people with a subtle thread and is difficult to require. That renaissance emblem “Festina Lente” (to hurry slowly) is materialized in a dolphin with an anchor, defining to the perfection, the complexity of human transits. The emotion “gives full rein to the high flying imagination”, while the reason tie with the knowledge’s weight to the sane hearth. Often, the design is defined like the harmony between Form/Funtion. We can move this game of apparent contraries to the generating origen area: The EMOTION and the REASON. Currently this equilibrium between both faces coin, of the are not more than a tense revolution that dominates our lives. The majority of our activities, desires and searching are moving in a fine thread that unites the hearth and the mind, sensibility and intelligence,…reason and emotion
“In reality, the soul was left as a goal. On the one hand, the Reason of the man Illuminates nature; on the other reason founded the important character of the man, his being and his freedom. But between nature and the ideal me, this piece of Cosmo in the man was left that we call the soul . Will the abyss of the heart remain without light, will the soul's passions remain abandoned at the margin of the path of reason?" MARIA ZAMBRANO
TRADITION VANGUARD
In this relationship between contrary creativeness and shape generators meeting place, the TIME is the meeting riverbed, the union link for generate difficult balances searching for harmony, that combines the past and the future, history and discoveries, tradition and innovation. To combine the historic tradition with the new forms generator, to recover, inspect, review and reinvent elements from the past and define it with forms and current regenerative functions is the objective of the collection based in temporary contraries.
ALL For me, every creator’s work is born in the interior debate between the need to give form to the matters, and at the same time, to refuse every unnecessary form. All the need for creativity moves me to confront a new challenge, it’s born in the construction, in a game of forms, to “give full rein” to the imagination in the search of new forms and volumes, and on the other hand, the need to refuse about all that is unnecessary and indispensable, the search of the artifice’s trick, the inhalation of the minimum synthesis and the ideas’ essence. This is one of the most fascinating debates that creates a creative tension within me and pushes me to take each challenge like an adventure where the conceptions of the creation where I debate: the construction or the deconstruction, the addition and the subtraction, the longing of equality or the challenge to reduce… in conclusion, I have to choose ALL or NOTHING.
NOTHING
ABSENCE
PRESENCE
This conversation about absences and appearances brings us to a history about suggestion, where the emptiness, the absence of matter, let us sense or imagine it’s presence as a form. The absence takes implicitly the presence of the missing. Every blank space, it’s the present trace of something that existed and now is present in a new and different way, with a non-exciting presence as tangible as its past existence. Our imagination is forming and rebuilding what it was and stopped being. Every absence implies a creative process and restoration, changing destruction in creation to the spectator.
To arrive to like everything, you don't have to have taste in anything. To arrive at having everything, dont want anything from nothing. To arrive at becoming everything, don't want anything in nothing. In order to know everything, don't want to know anything about nothing San Juan de la Cruz
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ARt desing VANGUARDIST TODAY Today, now clear of any limits on creation, where everything can work and the demolished barriers that like a corset crushed creation, the Vanguard concept cannot continue being connected to the violent rupture with the past. It would mean continuing to give sterile hits against a wall that no longer exists. Those vanguards who fought against the established art ended up becoming part of the bourgeoisie like their enemies Those that condemned those Museums wound up entering in the Museums and those against the system ended up being seduced and swindled by the system. Today, I think it is more revolutionary, more vanguardist, now that nothing ties us down by obligation to the past, to return to the vanguard and drink from its wells, revise it and interpret it in order to gather momentum in the search for new shapes. In those periods of History that were most fruitful for Art and thought, the point of view looked backward to create new impulses. Rome looked to Greece to reinterpret it, during the Renaissance they looked at both in order to create new forms of thought and creation. Each fertile stage in our history has been based on a revision of the past. Artists from all different eras have looked at other authors that came before them to shape a new style or to decisively use them as models. Manet looked to Goya, Rodín drinks from Miguel Ángel, Picasso reinterprets the Meninas and other important pieces of work from our artistic past. Antonio Saura looks to the Greco or to Zurbarán to reinvent an ground-breaking aesthetic based on the seed from the past. Balthus looked to Cuatrocentro, Igor Mitoraj looked to classicism for inspiration… And like this one to another almost all the artists depart from the past as an impulse of origin in order to reinterpret it, question it or even battle with it to form new proposals loaded with “originality,” from “origin.” In the same way, in the fashion world, in each great creator we can see an air of innovation that doesn’t come from nothing, but that goes deep, directly or indirectly, into elements from the past. In some of Galiano’s collections he directly alludes to the aesthetic of the XVIII Century, in Balenciaga’s collections he reinterprets some of the Vanguard works, Vivienne Westwood and her rule-breaking designs inspired by Romanticism….etc.
All design is enclosed in its workspace by conditions imposed from outside forces (from functional, to shipping, to economic cuts to psychological problems, etc), its these external impositions that differentiate a pure Piece of Art, where we can express ourselves and give freedom to our imagination to create that which we desire without any exterior limitations. In this case, my final Project: a Collection chosen, created and shaped without any outside forces aside from that of the CONCEPT that generates it, it reaches the artistic creation in the way of CREATIVE FREEDOM with which it is confronted and within the marked CONCEPTUAL CHARACTER that generates it. It is about moving the garments closer to the language of art, converting them into forms that have a poetic force or a marked concept that takes us beyond the garment itself, that encourages us to reflect or to feel, just as any creative artistic work that goes beyond design does.
To be original, the great panacea that they have sold to us to get success, sometimes has been interpreted as frenetic and an interior fight to distinguish ourselves from the rest at all costs, like a permanent surprise, new for being new. This, can be good, it has a limited time, as soon as it is condemned to the ephemeral. The new stops being so in the next instant. It is born with an announced and impending death. Art, without disregarding the impact of newness, however aspired to eternity, timelessness, to being permanently eternally alive. An anxiety about eternity always existed in Art. Therefore to be original in whatever creative language has to be connected to the concept of “origin.� It is about returning to origins, to the roots, to the past to reinterpret it, make it bigger, transform it or even destroy it, but always using it as a starting point. The focal point is the unpredictable and fascinating creative adventure.
The characteristic sign of the recent XX Century was reassessment and readjustment of ideals and hypotheses connected to artistic creation that during centuries remained practically unmoving and unchangeable. The Vanguard, understood as a position that questioned the beginnings of art, burst in posing itself against fundamentals and knocking down their fixed ideological pillars. The concept of Vanguard is connected to breaking and fighting. The first half of the XX century means a crucial period of rethinking and rupture in the transformation of culture, art, and design. The start of the XX Century, so unsettled because of wars, social changes, ideologies, and politics, meant the start of a period of review and rethinking of the pillars on which art stood, from its beginnings up to the XIX Century.
contrast between silk and cottom
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