The wonderers Rocinantes of Francisca Blázquez
With no doubt, is quite obvious we could not live in absolute darkness. Light is very
essential for humans to survive. Though we have invented the original flame, rituals to
the Sun, and the gnomes of electric power. Come on, still actually in the contemporary era, many monsters that worship darkness, and consequently, are
blinded to color.
On an altar devoted to light and color our ancestors painted the simple but sublime
bison’s of Altamira. Though we have arrived to our heroic, and most likely
inhumane Information Age, our devotion to light, color and images still continue as a
main reason to live; to the point, than painting on rocks and in opened or closed spaces,
or even in both at the same time, it is, as always it has been, a perennial necessity.
Nowadays the brush is the last resource, or as some people say, the last of what remains,
because in the digital era all has moved to painting with pixels on the monitor made by
bytes and silicon, where everything travels at the speed of light. Even then, is the human
eye, which looks for color, the hand which moves the image, the idea and its invisible
fingers that pushes around painting new horizons, and to the parallel infinite looking
for the essential.
On the greatest field of disaster occurs the battle on which the human soul is devoured
by itself, permanently anxious for return and renewal. And in achieving that purpose,
painters take away their lives, so the eye, which has seen all, could paint everything. Life
as a painting, a multidimensional and ultra dynamic territory, even possible, after the epic
revolution, lived by the hallucinated geniuses of Futurism and Contructivism, Cubism
and Abstractionism, artists with such tormented furor that painted the most beautiful Declaration about The Freedom of the Human Eye. And, from that freedom the human
soul wants to see the scandalous destiny of Darkness, as well the Hopes of Color, and the
Enlighten of the future. Furthermore, turning the visual artists as the soldiers of an
imminent battle, through the winds of an extra dynamic dimensional.
There, in that croix of the roads, I met the artwork of the Spanish artist Francisca
Blázquez. Who as far as I know, creates at the speed of light on the highway of color,
on the fugue of curves with no horizon, on the straight edged lines with no end.
Perhaps her color is a pretext to jump to the extraordinary multidimensionality of light.
Perhaps her lines are an essential context to travel on three dimensions toward her
radiant jewelry, and the hallucinated thirst of her digital playfulness.
Francisca Blázquez sails on her chromatic ship an universal flag, where the pirates of
darkness has no place. On her paintings she bets for a new kind of liberty, resembling
a necessary game posterior to Constructivism, and an obliged look towards the
In following that direction she continues carrying on, defiantly, as the Amazon of a new
Era, on the wonderers of horses, Rocinantes against the Windmills of Haze and Darkness.
Dedicated to the most lavish lovers: Francisca Blázquez and Joan Lluís Montané
December 2nd/5th, 2003.
Vancouver, British Columbia, CANADA