Francisca Blázquez, author of Dimensionalismo, an art from the new
Francisca Blázquez approaches the geometry of 21st century with determination, although with respect and naturalness.
She is creative, a clean one of clear mind, pure fire and love, but, also, equipped for scientific research, since always she keeps attentive to the advances of science and human discoveries in the way of the progress of globalization.
She is an artist of our days, who keeps updated of technological concepts and sophisticated advanced systems that affect society, which are inserted in the way of the Pleiades of the divine thing, as much from a human perspective in a permanent dialogue.
A tendency of man and woman exists to control nature, to take part in the evolutionary process, when, in fact, everything is simpler. Since evolution exists by itself with all its load of different energies. Evolution generates change.
If we take part polluting, contaminating, changing the climate of whole regions, deforesting immense forests, degrading the planet the only thing we get is to alter a basic principle of all ecosystems: the determination and incidence of time in space and matter. If we reduce time then we break the balance of space-time, altering the ultimate sense of existence and life, with all the dangers it tolerates. Everything has its time and its moment. Nothing remains unalterable.
It has been demonstrated that good vibrations and orations affect the crystal composition of water. The entire existing one has a soul, is by itself, and yet interacts to be human, animal, plant or mineral.
The multidisciplinary and interdisciplinary creator uses technique, considers technology, like tools to evolve towards other dimensional realities. She is a painter who uses acrylic, and her extensive knowledge of painting to enter into the universe of new forms that lead to others in a very continuous process.
She displays forms that are suspended in space. They have structure, they are coherent, they are illuminated with effectiveness, since they have a specific, strange, futurist, but, simultaneously, spiritual ancestry. She combines and harmonizes science, technology and spirituality. Catches magical, symbolic forms, arrives to allegories, aspects of primitivism, and science fiction, but also, coming from ancestral unknown cultures.
All of it made from unconscious, automatic form, becoming a transmission channel of light.
She carries out an authentic adventure that is centered in the labyrinth of imagination, formulation of intuitive realities that become new visual allegiances of nonexistent formal societies singled in the imagination, although, sometimes, such forms are real, even fantastic, that we are sure they exist in some regions of the universe.
Her investigation leads towards parameters of spirituality, using the form, using technology, considering the present philosophy, the elaborated, specific and concrete concepts of reality marked by trial and error as well by experimentation.
The world is populated with energy. All human body emits it, but also any alive being, even minerals or water. We live a reality within a Pleiades of realities. We see forms with our traditional eyes, but there are others, in addition to an infinite number of energies. If we used infrared or ultraviolet light we could contemplate another universe, which we cannot easily accede with our normal sight. Though through contemplation, meditating, fasting, and 'ayahuasca' or being spiritually pure we could accede to another universe of knowledge.
And yet we know that sometimes they seem to be exclusively for the initiates, but with its art Francisca Blázquez transports us to other dimensions, using painting, conforming forms that are extraordinarily complex, and simultaneously, absolutely simple. From simple the complex, and from complex the ephemeral. From the fugacity of a moment of beauty and life.
Actually beauty gets confused with the classic thing, art with the paradigm of breaking out or the anti-established thing. Nothing else far from reality. The artistic creation is by itself. Exists with fidelity, because it has inner harmony, an evident determination, and a way to focus the parameters of singular vision in an analytical and scientific context.
There are many concepts, exist many visions of art, all of them valid ones.
Beauty does not belong to any denomination of art but to the artistic creation in capital letters. Is not a concept that belongs to Greek or Roman civilizations, but a product of our own life, and of those artists whom cultivate it. Art is beauty by itself and the creation of Francisca Blázquez is a permanent cult to it.
And more, it is like her totem and taboo because she is a creator who drinks from the sources of knowledge. Art is universal, concepts change as circumstances do.
It does not exist ugliness, but the absence of beauty. This is one of the main messages of the Madrilenian international creator. Therefore the Spanish artist is looking for deepening into the vortex of life, which is not other that her own internalization and communication with a superior being.
All investigations based on the external thing, from intellectual analysis, lacking sensible and spiritual content are condemned to failure, and Francisca Blázquez knows it. Her objective is to reach the evidence from her own vision of the inner self.
For that reason her dimensional bet is based on forms canalized by auric, scientific and spiritual means. Also they come from other dimensions, distant galaxies, possible realities with beings who somehow go beyond humans, and from the Supreme Being who illuminates all of us.
Her pictorial creation is a product of continuous illumination. From there the name of Dimensionalismo that the author confers to it, because she goes beyond the well-known dimensions and opens the door towards a new universe, stranger, fantastic, illuminated and fundamental. An universe that does not resign to its roots and global karma of all the
well-known universes, and those we yet do not know. From these dimensions and the dimensions where matter opens a way to the spirit.
Joan Lluís Montané
From the International Association of Art Critics.
April/2005. Madrid, Spain.
Translated by Alberto Cerritos.