The painter, as a subject, is something different to the objective reality that is contextual to him.

The painting appears between the reality of the artist-subject and the universe of the real.

On that position the act of painting could be understood as a medium of knowledge.

In the act of painting the artist develops a figurative thinking from which he gets to know about reality. In this way what he knows is not the same of what he could know by others means, for example by the discursive thinking.

Whit both, the discourse and the figuration, the artist searches the essence of external being. He's attempting to spy out the mystery embodied in The Other.


Figurative thinking joins the essence of things thorough its appearance, and is expressed in the preverbal field of the painting.

By means of our senses we receive images from reality, from The Other.

But the images we receive are always fragmentations from the real, because reality as a whole, is much larger than our possibilities of perception.

Our senses give us fragmentated images of fragments of reality put together in an inorganic way.

The art of painting should find a principle of order which establishes an organic relationship between the fragments of perception, making it possible to stop being fragments and to become parts of an organized totality.

The principles and laws that regulate the composition of the pictorial shape are the same as those that regulate the composition of the natural shape. Under these principles a pictorial composition should situate itself in a synchronic position to the natural reality. Synchrony doesn't mean imitation. This kind of relational conception of realism constructs a metaphor of reality not an imitation of reality.

In painting the artist can express the relationship between subject and object and can make real the interaction and mixture of idea and reality, reaching the point where one reveals the other.