Jazz
This experimental work superimposes three distinct technical lexicons operating along divergent vectors.
The dry brush deposits a granular, atmospheric texture, generating chromatic fields that evoke the airbrush: ochres, reds, greens, and grays coalesce into striations that suggest a sonic landscape. Upon this substrate, the burin incises with surgical precision, tracing stark white lines that delineate eyes, serpents, and geometric forms. The imagery emerges through a process of negation: rather than the additive application of pigment, it is the subtractive excision of matter.
Each technique introduces a distinct temporal register: the airbrush diffuses time, the dry brush granulates it, and the burin arrests it. This coexistence of contradictory rhythms generates a structural tension analogous to jazz. The chromatic fields function as the rhythmic section, while the white incisions improvise visual melodies that intertwine without compromising structural coherence.
The work does not merely depict a musical scene; it enacts it. The eye navigates the serpentine lines as one might track a saxophone phrase, lingering on the incised eyes as if they were sustained notes.
The substrate refuses silence. Under the generative gaze, the incisions vibrate, the colors respire in irregular pulses, and the entire composition is set into kinetic motion. There is no fixed musical score, only the resonant echo of a gesture that mutates with every act of observation.
This work is not merely contemplated; it is heard through the eyes.
Size:
Paper: 19.68" x 13.77"
Pictorial Mass 11.81" x 5.90"
Technique:
Mixed media on paper
This work resides within a private collection in San Miguel de Allende, Mexico.
Jazz
This experimental work superimposes three distinct technical lexicons operating along divergent vectors.
The dry brush deposits a granular, atmospheric texture, generating chromatic fields that evoke the airbrush: ochres, reds, greens, and grays coalesce into striations that suggest a sonic landscape. Upon this substrate, the burin incises with surgical precision, tracing stark white lines that delineate eyes, serpents, and geometric forms. The imagery emerges through a process of negation: rather than the additive application of pigment, it is the subtractive excision of matter.
Each technique introduces a distinct temporal register: the airbrush diffuses time, the dry brush granulates it, and the burin arrests it. This coexistence of contradictory rhythms generates a structural tension analogous to jazz. The chromatic fields function as the rhythmic section, while the white incisions improvise visual melodies that intertwine without compromising structural coherence.
The work does not merely depict a musical scene; it enacts it. The eye navigates the serpentine lines as one might track a saxophone phrase, lingering on the incised eyes as if they were sustained notes.
The substrate refuses silence. Under the generative gaze, the incisions vibrate, the colors respire in irregular pulses, and the entire composition is set into kinetic motion. There is no fixed musical score, only the resonant echo of a gesture that mutates with every act of observation.
This work is not merely contemplated; it is heard through the eyes.
Size:
Paper: 19.68" x 13.77"
Pictorial Mass 11.81" x 5.90"
Technique:
Mixed media on paper
This work resides within a private collection in San Miguel de Allende, Mexico.