Prussian blue pigment is a very unstable one; depending on the pressure of the layers, it prevails in a mixture more or less. Thus when is mixed, but we get to another color, this pigment emits its own heartbeat. I’ve built a small dose for the background because I want that inner strength.
Flowers and blue should refer to the concept of nostalgia; if it was a smell, would be flowers; if was a color, would be this kind of blue. The flowers have enabled me to move from blue to pink, from melancholy to nostalgia. There is also the delicate bust, it is a delicate romantic heroine, which is the sum of beauty and fragility. The circular shape represents the medallion; lovers of past centuries looked the picture of his beloved when she was away; oval medallions with a revolving door, that the lover could open to escape, as if the act of falling passionately in love were signified by the protected image.
Tapies said that his pictures did not convey a message, but the message was. This relationship between the signifier and the signified, in a romantic way, is very powerful in those medallions. With a simple rotating mechanism, the observer happens to look to see, to live to dream, to love to romanticize. Initial sketch oval but had that evolved into a circle, the concept is implicit. The original bust responds to an ideal beauty, a canon, and according to various sources probably no woman in particular was the model, so it becomes a timeless, collective and monumental character.
Helena. Acrilic on canvas, 28 x 27 inches. 2015