the unit, the shadows, the aesthetic experience, the coupling, the inter-connection

Result #1

of the imaginary, the changing perspective, the experience of the gaze, the connections between the forms and the forms themselves, the varying and reconfiguring of the imaginary, the various references to the world of the unconscious, the way of being at once deeply familiar and completely unknown.The most radical aspect of this retrospective is the vision of the painting as a pedagogical device, of a space that brings together the unconscious and the public, that is to say, the self and the public. The work, then, is not just a work of art, but also a form of teaching, an instructional tool.The absence of a particularly strong aesthetic, a work that expresses itself by a clear and very palpable color, the absence of a conventional painting that is easily grasped, is what makes the work of Rubén Borja-Peña especially important to me. This is because, although Borja-Peña is not known for his extreme, even radical, style, for his use of color, his subject matter is one of a kind. It is neither the most art nor the most painterly. Borja-Peña presents himself not as a classic, but as an ordinary person, just like a student who, in order to learn something, must experience his own difficulty in understanding the situation of the painting. He does so, but he does so with a lightness, a charm, that is not too pedantic. He does so without giving up any of his subjects, but at the same time never loses any of his individuality. I am not speaking of a kind of caricature, but rather of an awareness of the importance of painting in the existence of the self, of an awareness of the position of the painter in the relation to reality.

Result #2

. What results is a pure, industrial-strength form. And it is this quality that makes the work of Tom Wesselmann, particularly the two-dimensional ones, so different from his works on paper.Wesselmanns paintings are made of a mixture of oils and ink on canvas, and they are made up of several layers of paint, with the surface, the paint, the shape of the work, the surface all coming together. This is something that has always interested him, and this is what brings out the strangeness of the work. The drawings that accompany them are surrealistic, and the work, while still carefully composed, is more abstract. The paintings are, in Wesselmann's words, reinterpretations of drawings. This means that he is not really re-creating them, but rather, by replacing them with his own drawings. This is his most important contribution to the present body of work, for it establishes a link between his earlier work and the present. In the process, he confirms his already great talent.

Result #3

. These, in the end, are the most vital aspects of the work of the artist, for they are what he has made the basis of his most-often-seen works. The conceptual, the formal, and the esthetic are not so important, for the work of the artist is still fundamentally the work of the artist. These principles should not be forgotten, but they should be treated as secondary elements, that is, as merely pre-existing elements that one can only explore and manipulate, not as the point of departure for a new, spontaneous, or artistic esthetic. In this case, the artist has utilized a structure which he has found in the spirit of Japanese architecture, and which makes it possible for him to act on the environment of the museum and of his own activity.

Result #4

the unit, the shadows, the aesthetic experience, the coupling, the inter-connection of the physical objects, and the composition and patterns of light and shadow in the living room are all here.The recent exhibition of oil paintings and the wooden sculpture to which they are related are, at times, shocking, but they have a lot of personality and, when combined, they bring a certain originality and vitality to the work. The oil paintings are made of starkly rendered, textured backgrounds of black and white stripes. These are framed by large, thin white stripes, sometimes parallel to the edges of the canvas, which are somewhat reminiscent of the edges of the paintings, but more tightly gridded. The subjects are often houses and apartments, but the backgrounds are made up of different patterns of stripes, sometimes overlapping, sometimes not, but always with a very certain image of order and structure to them. The works have a certain dimension to them and a certain degree of depth, as if the paintings were paintings on a smaller scale. The colors are very striking, in the sense that they are incredibly bright and saturated. The strokes are so thick and so unruly, and they are clearly defined and separated by the white. The strokes are also clearly defined, with no over-coverage, and they are also the very center of the painting, with a very clear, unambiguous, unequivocal point of focus. The strokes are sometimes almost glowing, and they are clearly marked, as is the case with the houses and apartments.The sculptures are much smaller and, like the paintings, made up of different patterns of stripes, overlapping, sometimes not. They are not marked, and they are not quite as beautiful, but they have a more even surface, a more controlled surface, and they are marked with the same intensity of purpose and analysis. The sculptures are also covered with a variety of trinkets and bits of cloth, as in the paintings.

Result #5

the unit, the shadows, the aesthetic experience, the coupling, the inter-connection. We can go further than these possibilities. We can look more deeply into the picture, penetrate the structures, and come up with new and interesting reflections, new possibilities. Some things are still in the process of being developed, some things are already there, but they are not what we thought they were, or what they should be. Some things are already there, but they are not what we thought they were, or what they should be.We cannot avoid the question of what our images are. On the one hand, they are not images of things; they are images of our place. But on the other hand, they are not images of our place because they are not images of our place. They are images of a particular place. In this sense, they are not the images of places, because we are not there. In this sense, they are not the images of places because they are not there. They are places, and images of places. The place is always there, and we are always here. It is always here, it is always our place, and we can never lose it. This is what happens in painting, not in any other medium. We cannot avoid the question of what our images are. On the one hand, they are not images of places. On the other hand, they are not images of places because they are not images of places. We can go further than these possibilities. We can look more deeply into the picture, penetrate the structures, and come up with new and interesting reflections, new possibilities. Some things are still in the process of being developed, some things are already there, but they are not what we thought they were, or what they should be. Some things are already there, but they are not what we thought they were, or what they should be. They are places, and images of places. The place is always there, and we are always here.