I understand painting as another dimension, not as an applied art. Within the exercise of painting I discover cathartic processes and non-linguistic values that challenge my intellectuality and urge me to look for an emotional and gestural language. My painting does not seek to portray anything; rather, it pursues the materialization of sensory codes and the registration of impulsive states that counterbalance the force of reasoning and the mental yoke to which we are subject.
I am, when I paint, an imperfect medium for the translation of an inner reality that manifests itself through the signs and forms of the world. I like to think that my painting is semiotic, since it is maintained at a coded level and far from verbal manifestation. Using my body as a conductor and subjecting it to a process of self-induction to a non-thinking modality, is how I build my creative discourse. My paintings are codices of immateriality or a rapid sampling of what is invisible because it remains hidden or of what is imperceptible because it is small.
I like to understand my paintings as emotional graphs; that is, as a material representation mapping out my emotional states. To start them I begin with a process of intellectual saturation in which I fill my head with ideas and memories, as well as with data and forms. Gradually my mind begins to receive impulses that take me to different emotional phases. After saturation, my intellect reaches a naive or innocent phase and this is when I get ready to paint. Hence, each creation depends on my previous emotional state and although inevitably these are repeated, I try not to fall into formulism or repetition of patterns.
My general artistic proposal is the decoding of the unconscious, the re-definition of the impulse and the recording of the present moment.
I want to challenge the univocality of the two-dimensional plane and break with the natural interpretations of sight. My intention is to incite the viewer’s gaze to splurge his senses in the middle of an aesthetic chaos and to undress the paradigms of geometry in order to understand that there is another world underneath or to forget the last one entirely.
María José Romero