That which is light has no additional weight, it is agile and one may leave it to transform. The sheets of paper are a lightweight material suitable for transformation, they lose themselves in the
hand of the artist who describes a part of the whole: a sheet for a landscape, a scar for an experience.
To complicate is to fold together, preserving the marks of those folds. Within the scars of complication lives the dignity of our soul, in that place breaks and cuts but also the changes and detours settle. The soul is both many things and nothing since it has no single definition, it is a diverse landscape that keeps track of what passes. Where a river has dried, its bed remains a dirt track, where a rock has been lashed by the wind there remains a polished and contoured stone, where there has been pain or some form of happiness there remains a footprint that sinks in deeply.
Yet the complicated cannot be reached by stretching, if there is no initial matter to contort, there is no contorsion. In this, the art of origami can inform us: from the smooth to the folded to shape the world and to accept the cycles of time with its births and its destructions. A landscape of life made of sheets, now neatly folded and then opened with the heat of the hand, now crumpled with force and then stretched with a rapid gesture, here is the story of a vision and a sense. At the beginning of the story we are simple beings, unpretentious and without awareness, then we descend into life and we look horizontally as far as the eye can see, and vertically with our frail bodies, pride or impediment according to the situation. At the meeting point between the vertical and the horizontal lies the first certainty that this life will be complex, that meeting point is the mark on the paper, the vague shadow that returns some form of beauty and poetry.
THE CARLOS REID GALLERY
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