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 A man of my time
Carlos-Cruz Diez means the
most deeply, rigorous, coherent and varied, in the investigation and
representation of the chromatic universe.
In his text “Thoughts about
color”, Cruz-Diez wrote: “I decided that the most convenient thing to do was
to create a structure where the plastic systematic arranging were replaced
by preset outlines, in function of its effectiveness. This way the structure
would produce a certain order that in turn would be the generator of its own
aesthetics." He intends to innovate where the unvarying conventions of the
industry of advertising images reigns, who as we already know try to impose
a standardization of the perception.
For that reason the responsibility and the contribution of teachers like
Cruz-Diez have been so important and hardly to evaluate by means of giving
continuity to the occidental art, therefore, since the sixties, the
superficial and iterative static of the city`s environment extends
unstoppable, and in an alarming way all gender of commercial and
institutional advertising. To all this, the artistic attitude of Cruz-Diez
was opposed – and if you also may say, the his scientific side -, as a
consequence of the researches carried since his first “Fisicromía”, in 1959.
It is Cruz-Diez one of the few chosen to create and to set dozens of public
art works, sometimes integrated to the architecture, other, being
constituted themselves as architecture, allowing us to recover the
distinguishing capacity between the artistic practices and the industrial
aesthetics.
Each work is a paradigm of a speech initiated five decades ago, by means of
the continuity of chromatic events modules, so that they appear and
disappear “color climates”, as the artist says.
Ninoska Huerta
About his work Cruz-Diez mentions:
"A great
part
on my current
work's process is due to my investigation
stage and practice
of the industrial processes
on graphics reproduction,
the photomechanical,
the printing.
They revealed me new
possibilities and new means which had not been used
as "plastic language"
and therefore they coincided
with my concerns
about what should the painting of my time be." |
"
I am a plastic investigator,
a worker,
a visionary of situations
and I believe that all men's
activity is simple
and form a part of elementary
things, and when that activity
seems "mysterious",
it's because they ignored
its mechanisms
or its principles:
so when it has been
deciphered,
they are elementary:
The " mystery ",
the " expression ",
the " sensibility ",
the " climate ",
the " beauty "
are product of a dialectical
between the spectator
and the work.
In order to develop
my work I chose expressly,
simple phenomenological
principles, which I must
know to the maximum
to develop and foresee their
consequences,
what allows me
the possibility to evolve
and to investigate" |
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""...
When I decide to locate
myself before the problem
of the color
I make it with full
consciousness and plenary
knowledge of the reality
and I do not represent
the coloration in a way
but the power
of the transformation
continues in the time
and space,
of that color;
exactly like in the reality.
With the Physicromies...
I intend to put
on evidence this continuous
transformation of the light." |
"The
artist with its work, is
capable to generate individual
psychic states matters
in each one of the spectators,
independently of what he
may feel at the moment
of making it.
The artist's sensitive
relationship with its work
is a strictly intimate
and personal matter,
but the " product "
of that relationship
must create an artistic fact
the sufficiently effective
to communicate
and act on other men." |
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