Throwing material on the canvas and observing what is happening, was the form of creation used by British artist Francis Bacon. For him, art rises from the productive tensions established between shapes and colors in a fortuitous way.
For the Spanish sculptor Jorge Oteiza, tensions arise accidentally from the incipient beings belonging to different ontological worlds that fight among themselves to give life to a new being. Oteiza accepts three ontological worlds of philosophy from an objective clasification of the existential reality: the sensible forms (the organic), the ideal forms (the geometric) and the vital forms (life), which issue from the birth of the two previous ones .
My way of working begins when I place different colored shapes on the stand, and so I consider the color as another element that has its own shape, the shape-color produce an organic system of tensions next to the geometrical elements, some letters ... and so, I do observe what happens next.
If nothing happens, then I change the elements until a small red a bit rounded, next to a quite rectangular big yellow collide with a geometric element and shakes me profundly, from where I get carried away by the polyphonic sound that my work sends me out.
It is that expressive simultaneity of the elements that allow the painting of a special dimension, as when it comes to different musical instruments, all with their own and collective personality at the same time.
This is what I call the multiplex effect, in the multiplex technological field it is a communication system that allows to combine multiple messages simultaneously in the same physical or logical transmission support.
That multiplex effect does not arise, as Oteiza explains, from the struggle between the different elements of the different ontological worlds, but from the struggle that each element performs with itself, to break the time-space appearance that seems to be the intellectual representation that the human being makes of it.
Kant considers that the human being access to knowledge is banned of how things really are, because of their perceptive mechanisms they use to know how the things of the world are make, that make this knowledge impossible. Things perceived by man are altered by their own selves. In his Critique of pure reason, Kant explains that the human intellectual representation of what humanity perceives from the world, come from the a priori forms of sensitivity: space and time, and then the categories take part, that hermetically contains and place each of the things that he has already perceived under the influence of the space and time.
When shortly after Hegel speaks about the death of art, he does so based on the representation of reality perceived by the artist. The only thing it represents is its own intellectual representation of reality, subdued by the mechanisms of space, time and categories.
Starting from Multiplex, the polyphonic functioning of time-space simultaneity of the elements of the picture, allows me to set out my particular breackdown of space and time, and to present a different world of intellectual representation, a world not subdued to the Kantian mechanisms of my sensory system masked by the being itself of things.