Martín Di Paola

The work of Di Paola is sublimate and metabolized in paintings that are visually imposed as “self-protected geodesic gems”, faced with a vacuum which, in fact, is the counterface of what is added, saturated, of the thick culture.

These objects or architectures of the mind are sharply and autonomously defined within a closed-eye space. Their solidness is unreal, but it allows us to believe and make the trip: that transit through the visual space…just there, contradictions are solved: would this be a function of art?

The emblematic geometry of Di Paola moves between the sensory ends of ímagination; the object and the space. That object is sometimes at a standstill, sometimes, it moves, emerges, is, and stays. These bodies, which are just themselves, are perhaps revealing the vacuum as a possibility.

Their utopia is to keep on going through certain spaces as solitary objects that exorcize reality by means of a creative ritual; these artefacts with their ambiguous dimension, resettle us in a world of spacial values where the conflicts are no longer ours.

The exploring artist looks, within a tangle of brilliant joy and unlimited uniqueness, for a hint of a surface that divides substances, a real doubt in all that light happiness. He shows us situations in which factual facts seem to be crystallized in the form of vectorized entities in mutual annihilations within the environment of infinite possibilities. The methodical question against the cloying joy.

In this space and moment of perfect action and beauty, the artist centers his attention in the constructions where the error can be housed. As if he looked for a point of stillness in the center of the explosion.

• Because the group action of moving the surface to be painted while colors are poured on to it coexists with the intimism that the tedious work of the most obsessive geometric painter hints…
• Because in both cases he did not use the expected materials but car paint. Because he is interested in his pictures to smell.
• Because the pictures are painted on wood, the heavy one.
• Because he even decided to paint them.

It seems that these reasons themselves define the concept of the work of Di Paola.

When at first glance it seems to be a charming invitation to a sensory trip, this exhibition of Di Paola is a declaration of principles.