{"id":231,"date":"2015-11-06T12:57:25","date_gmt":"2015-11-06T11:57:25","guid":{"rendered":"http:\/\/carlosbrenes.com\/?p=231"},"modified":"2016-01-10T19:18:31","modified_gmt":"2016-01-10T18:18:31","slug":"helena","status":"publish","type":"post","link":"https:\/\/www.carlosbrenes.com\/en\/helena\/","title":{"rendered":"Helena"},"content":{"rendered":"

<\/p>\n

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.<\/span><\/p>\n

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.<\/span><\/p>\n

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.<\/span><\/p>\n

Helena.<\/em> <\/strong>Acrilic on canvas, 28\u00a0x 27\u00a0inches. 2015<\/em><\/p>\n

\"HelenaV3\"<\/a><\/p>\n