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Let's talk about light
20/04/2025
Let's talk about light. Light in the pictorial realm has been a subject of study for centuries. Each artistic period had its tricks and ways of representing light, from the use of whites, to the use of harsh contrasts, to the fragmentation of brushstrokes into various particles of light/color. All the art literature around light in different historical periods can be summarized in the following: the miracle of light tearing through darkness, the triumph of good over evil, light as the sublime representation of goodness.
Fragment of "Nebulossa", acrylic, golden spray and LED lights on canvas, 2024 (80cm x 120cm)
"Ice Queen" in dim light. Acrylic, golden spray and LED lights on canvas, 2024
Light and color can be used to guide our gaze across the painting. I take this concept of light to its fullest expression, to its most literal form, using LED lights. However, when speaking of the LED lights as a product, without placing them within the context of my paintings, as if they were not another tool to create more color fields used to help the viewer direct their gaze over the artwork, would strip the piece of all its magic.
Painting with light, using light as another brushstroke, is finally introducing into the canvas what so many artists in past centuries tried to achieve with their paintings. We finally have the right technology; LED paintings are now a reality. However, it would be a mistake to treat them as mere decorative lamps. My paintings were not conceived as a mass-produced product; LED lights cannot survive in my creative universe without the context of the painting. Instead, the paintings draw from the LED lights to reach a greater expressive potential, but even without the LEDs, the paintings would still be well-received, as I've seen in several of my exhibitions.
My intention is to use the LED lights to achieve the desired artistic expression, to go where painting alone can no longer reach. Their use and placement on the canvas are intentional, blending perfectly with the density and richness of the chosen colors. The sum of all this is what makes an impression at first glance. Before we even ask ourselves what the painting represents, the viewer delights in pure aesthetic pleasure, in the warm, golden atmosphere that emanates from the wall.
I am intentional with my use of color, as a result of observation. I aim to strip the painting of all physical resemblance of objects and keep only the essence of each shape. A sort of synesthesia of each object that would make up a figurative painting. What ends up being captured on my canvas is a stain of color for each figure, the abstraction of a figurative scene taken to its highest expression.
Trying to name something as elusive as light or air with their true plastic name, and even more so, the most complex name of all, the soul, has been a challenge for great artists since ancient times. Naming notions like good and evil, internal storms, or what the Greeks called 'the movements of the soul,' looking beneath the skin... Illustrating all of this through figures and objects, perhaps with allegories, leads to visualizations in which we often see a mere external representation. A personification of all those great names mentioned above. You can often see a character in a classical painting holding their head, tortured by some evil thought, or perhaps invaded by a warm sense of serenity.
The color fields and LED lights are self-explanatory in illustrating a feeling that can be internationally interpreted. With my paintings, we have lifted the skin of the human and looked inside.