PREMONITIONS. ENTROPY IN MANHATTAN.
My delirium or compromise as a human being has been to try to reach the peace for myself and the ones around me through Art. Utopia or reality are mixed into the colours that the innocent artist uses trying to do his bit for the society. Through his positive act the artist tries to make people conscious of the need of reaching an understanding after the conflicts generated by cause or effect of the cultural evolution trying to reach the civilization. Clash of religions or lobbies that manage the politics of the blue globe?
Consequence of my obstinated artistical experience in the plastic arts field where I believe I give a certain paranormal message, by an onirical, surrealist and automaton creative act, where meditation grabs my conscious and transmits, as I say, premonitory effects. I have had many during these nearly forty years in the world of art. The first important one worth mentioning was the metaphor of the works done in 1990 and 1991 and launched in the gallery Carmen Romero in Marbella under the direction of Paco Ayala who was a main witness of this paranormal plastic message where I reflect the conflict generated by the invasion of Kuwait by Saddam Hussein.
The rejection and deceit of the public that viewed these paintings gave my works for many years a rebellious, revelry and touches of banality but not been able to avoid certain veracity testimonial of the general conflicts of Humanity.
The premonition appear again and its inevitable to assume, absorb and transmit even though I wasn't conscious of the message for the future that today is already past. Mrs. Concha Marquez, manager of the Azteca Gallery and president of her own Foundation in Madrid, was the metaphysic catalyst of my conscious for the fusion of the plastic metaphor of the catastrophic events that occurred the fateful 11th of September of 2001 in USA.
A long labour to constitute and materialize up until the date of the disaster. Forty paintings made out of materials collected in the rubbish containers such as old headboards, pieces of kitchen units in the area of Chueca in Madrid were the premonitions brew.
The 11th of September of 2001 conscious and informed live by television of the fatal event for West and East, was the end, I couldn't paint more tragedies. I myself was frightened of my premonitions, some of my paintings even represented the city of Manhattan under the attacks.
It all started months before as I said, Concha Marquez suggested me to participate with four works in the exhibition II Group of Christmas that her foundation organized. This exhibition took place in Madrid in the year 2000 for the 50th anniversary of the Egyptian Institute of Islamic Studies and that was the title of the exhibition. I start preparing these first four paintings where unconsciously the first manifestations appear under the so called "plastic automatism". There is a very interesting anecdote where by casualty or magic creation the number eleven is carved twice in a panel that belongs to the African continent, a panel that I find coming out of my atelier. I made this panel mine, it was lost, left by someone and my intuition would insert the metaphor that was in my creative world where the iconographic manifestation gave us all the clues to understand the conflict between Jews, Christians, monotheistic religions, but possible more due to the control of energetic power. I transform this panel in four pieces that remind us of weapons, where the number eleven appears twice, without knowing that months after they would be the key to denominate these paintings as premonitions.
They are exhibited at this group exhibition over Christmas, they were seen, analyzed, and I am asked about the visible metaphor of the tragic conflict.
Some remember the metaphor of the premonition of 1991 when Kuwait was invaded and they asked me if it was new premonition and I asked, yes. They carry on making questions about the number eleven inserted in the painting, I answered that I didn't know what those number meant in these painting dated in October-November of 2000 titled "Eleven philosophies" and appear in the catalogue of this exhibition.
In 2001, I had to wait until the 11th of September to realise that those forty works that I had created with the metaphor of the conflict between religions, materialized in the catastrophe of the twin towers. Later the second number eleven is Madrid, manifesting paintings where war conflicts and terrorist attacks are a reality.
As I said the 11th of September, I wasn't going to paint more painting with this scene, I had finished them, but the message is still alive, and the metaphor sadly reopens the analyses of these paintings.
These exhibitions give veracity to the metaphoric work of premonitions proving that they were an anticipation of the events, created in my workshop at Calle Santo Tome n. 6. Main witnesses: Concha Marquez, Mario Martinez, Angela Sanchez Delgado, Ogsmande Lescayllers, Javier Rubio Nomblot and a few close people to me in this period. ?
Signed by: F.M.G.A.