Personal Statement exhibition at MAC 2001 english

 

Lucas Posada G.
The works featured here are a representative synthesis of ....’s production in different fields over the last fifteen years.  Essentially a humanist, a spirit of the Renaissance who has stood up against the demands of a
system that requires individuals to put everything into packets of special parts, including art.  He chose a path that leads to the binding elements rather than to the marked differences between the different cultural expressions.  A deep admirer of culture and its different symbolic and creative manifestations in....., a people considered primitive from our historic viewpoint.
This man’s way of thinking is more akin, as regards spirituality and way of life, to the far east than to a catholic country; particularly in the organizing and ethical principles of life as found in Buddhism. He also identifies with the reality of sacred spaces underlying the native cultures of our country and our continent.  He admits and accepts as real Nietzche’s verdict of  -God is dead- under this western model, because the sacred spaces of every day and of life as a whole, have vanished into a reality no longer genuine.
That is why his painting, sculpture and poetry carry a sense of drama and urgency close to theaesthetic principles of expressionism. Over different periods he has shared his life with native communities in our country.  The Chocó region has nourished him spiritually, particularly because of the confluence of black and native cultures, and the most outrageous landscapes the mind can imagine, as is generally true of all of Colombia.
He is in love with women and with the love professed to them; with the wholeness of nature; and with following an ascending path of knowledge which lead to parallel universes as real as those of the senses. The universes of mathematics, geometry, music, poetry and , of course, the fine arts which we access under a certain state of mind and only by creating and developping our mind, and with the help of certain tools and symbolic language. He is in love with being a “homo sapiens”, not so much because he places man above all things, but because of the inherent potential for consciousness and reflection.
His art reflects convictions that have taken shape over the years: that everything is undeniably connected; that we are accumulated and organized energy rather than free-willed mass of matter, as quantic physics plainly show; that on an epistemological level we build our knowledge and reality models through gestalt, totalizing rather than adding the different fragments of reality; that western man’s greatest problem is communicating, outwards with our surroundings as well as inwards, in order to know and understand oneself, which is the reason for using the symbol of the scream; that his art, an expressionist art, acts as mirror and reflects the inner individual; and that creation in any field has a life of its own and is autonomous from the artist’s ego (in the freudian sense of the term), the artist being an agent rather than the axle.
This last paragraph contains in each of its postulates, the principles that have shaped the artist whose
paintings and sculptures are shown today here at the MAC.