Lourdes de la Villa Liso



My first steps as a visual artist began in 2000. Due to my lack of experience, the only thing that proved solid, was an evidence coming off from my productive activity: my job forced me to see things oddly. Unknowledge that referred to me, because it was me whom reality was on display as it did. Given the fact that “doing images” caused a perceptive transformation that draw me, I began to think about it. Reflecting on the reflexion, gave me the illusion of controlling something in my life. Finally my illusion ended up taking the form of a bulky Ph dissertation. This research allowed me to go from visual artwork operation to brain function, and in so doing, appreciate what happens with the reality and its presence as follows: when we see, we are also doing an image. But the support where we create its representation is the physical surface of the World. This is truly remarkable, because this image flows like a river.

It can be said that this assessment is the result of a profesional deformation. But also the vision science points this out when says that our brain does not distinguish between what we see and what we remember. It comes to the same whith an opposite approach; it means that when we turn up our visual sense as an intelectual resource, we are not disrupting the flow of our vision. We can not restored to consciousness, the things our visual system resolves unconsciously. We can let something look through us and return like a boomerang…meantime, our brain performs as our body’s machine. That’s why in front of the visual language the artist is placed as an observer not involved with what he see. The observer is the soul of the machine. He is like the meaning of our life; an inmaterial entity.

The artist handles the flowing of vision without cutting it by nowhere. Although for it, we will get to make a big mess. It is a similar one to what our brain does with the retinal image, with the purpose of giving us back what we see; the reasons are always technical issues. In the case of our brain representations, this arises from the need to accommodate the observer into its folds, curled up like a child in her mother’s womb. In the case of our art representations, this arises from the need to leave the observer free in the World like a wild creature, able to fly, walk, crawl, swim, sink into the ground, go into the deep sea…With producing visual art, we expose what is feeding us psycologically. We see what our brain does not distinguish giving it the form of a story he can read like a crouching animal in the skull, which we set free through the imagination. This is not an illusion. What we see is a dream, yes, but one that builds the reality which we cope with.

My production is built around this idea about my work, and for the possibility that gives me the development of the artistic language to catch something about the language of our nervous system. For it is in that language, that we might call «fiction» by the fact that it happens first of all in our head, where said construction of reality is founded.






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