The dimensional constellation of Francisca Blázquez
YORK, JADITE GALLERIES - AÑO 2005.
Francisca Blázquez is a multidiscipline and multidimensional visual artist, who worries, in first place, of the space, considering it as a whole, in which the time does not matter. In the space the geometric forms, the molecules that comprise of the pictorial framework, the forms that are matter, mass, density, are susceptible to be transformed by the energy.
Without space there is no geometry, because the essential thing is the continent so that content exists. Also it suggests the existence of emptiness, but this it is understood within the complex of the space, since emptiness is the absence of that, but, simultaneously, interprets it, in the sense to equip it with spiritual moments of meditation. Meditation, going beyond the physical reality, causes that other dimensions are opened, precisely those that Francisca Blázquez reflected in her painting. But, in spite of everything, these are understood within parameters conformed by the space. For that reason Dimensionalismo is a constellation of formal structures that are right into different diverse parameters in which each space is infinite, until a new emptiness allows the trip towards other dimensional realities. Consequently the Madrilenian creator, with more than 35 individual art shows as well more than 300 collective ones in a dozen of countries of three continents, creates a new form to understand geometry, which she connects with the sacred geometry of the different spiritual beliefs and religions, but, also, has scientific connections with the quantum physics, the theory of the cause and effect, besides being interested in the cosmic, trips, the star constellations, the enormity of the galaxies and the big initial bang...
Everything is dimensional, because a game of possibilities exists, in the sense to be and to worry about the deepest reach of our own existence. There are different dimensions because a spiritual universe exists, astral and emotional accompanying the physical universe. For that reason she presents geometric forms apparently cold, coherence and forceful, that in fact, are product of her sleeplessness by the complex dynamics of existence in which she constantly asks for the origin and the formation of things.
She is a finder of essences, a mediator in the process to find energies that lead us to a perceptive intention in which we could see the molecular conformation, the hexagonal or triangular elaboration of polyhedrons, forms that follow one another. In fact our own existence is a multiple varied geometric form subject to an extreme dynamism.
Always there is a principle of transformation, but never an aim because forms do not have an end. The initial form is not even either form considered itself in a hieratic plan, but one that assumes it as product of its own idiosyncrasy. It is to say that always space has existed, sometimes nourished of elementary forms, in others of elaborated constructions, but always itself as authentic space.
The structures are such because a principle exists that puts together all space. It is not necessary to only consider space as support, but like intelligent organization that is the sum of all existing one.
It is not a product of lucubration that have a clearly scientist background, but complex, since it agglutinates spiritual perceptions, reflected of astral trips, deep thoughts, feelings, the daily present time, pieces of glamour, playful essentials,
intention to break schemes, and simultaneously, all it is product of one firm inner conviction based on discipline, deepening in beauty, the most classic perceptions of immediate, inner and outer, diaphanous surroundings and distant, in the sense to return to consider life like a whole, moving away of specializations and the excessively purist disciplines.
Today there is an excess of tried purism, of inoperative postmodernism that the only thing that does is to take advantage of the faults the artistic system have to replace the dominion of the technique and the philosophical conceptions by pseudo cheap literature of saloon that the only thing that produces is an emptiness of ideas. For that reason the contribution of the Dimensionalismo of Francisca Blázquez is so important, because it summarizes in a work of great charisma, characterized by his chromatic power, by his dedication to the idiosyncrasy of the singular, the eventful journeys of the overwhelmed present time, marked by the Era of Aquarius, founded on a convulsion of convulsions, generated by the planetary transformation, put it all to the service of the evidence of the fragility of existence.
Everything is fundamental in the gear of the work of the Castilian visual artist, in the sense that it arises from the personal cosmos, of the interior of the galaxies of his orations, thoughts and ideas, acting like transmitting channel of light, adopting the parameters of a modern wizard, of an Egyptian priest, a Buddhist convinced, who, turn the bad thoughts into positive energy, the very bad ones even contain lessons that sail in the crystal sea of experience.
In main lines her art production has an important sense, from the angelical world, happening through planets, the idea of God, the perceptions of light, the extraordinary luminosity that arises with force from the complex forms that she invents, that expresses with sagacity and freshness, nourishing them of enthusiasm, from creative vitality, centripetal force, emotional character. When a universal and cultured artist is, in addition, intelligent and spiritual, her work stops being playful, losing interest by provocation, since the important thing of the same one is the concept that nourishes it and not the idea that it causes.
Francisca Blázquez, author of the Dimensionalismo in 1998, is a great artist, firstly because she demonstrates that she knows herself very well, in spite of her eternal questions; secondly because she expresses the cohesion of different worlds. There are many worlds but they are in this one. For that reason she does not try to show a spiritual utopia, nor she speaks to us of impossible geometric spiritual universes, but she shows to us the great reach that has geometry when, frees of adjectives reflects that, in the first place, it comprises inherent of the space, of our space, in which is everything, because the whole is the emptiness and the emptiness is the absence of everything. And in the space and the emptiness the spiritual lays as a north. A coherent spirituality, signs, conscious, free of prejudices and
Joan Lluís Montané
From the International Association of Art Critics
Translated by Alberto Cerritos.