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Lineamientos de origen
Source guidelines
Art
Contemporary
Location
Museum of the Arts MUSA
Guadalajara, Jalisco
Manuel Felguére Museum
Zacatecas, Zcatecas
Year
2011
Artist
Francisco Morales
Underlying Argument
Taking as a reference a universal pattern such as the Scottish fabrics (tartans), which originally served to differentiate members of the clans, it leads us to geometric approaches such as grids and networks, which seem to contain shapes and volumes willing to escape from the captivity long contained before the impavidity of the horizontal plane and stand as structures of their own presence, producing echoes beyond their own edges, beyond the guidelines that determined their origin, participating in the dimension of spatial perspectives, being body or void, forming part of panels, of wefts, of other fabrics reserved for unpublished spaces that will respond to perception, to the interpretation of man and his relationship with his environment.
Source guidelines, background evidence
This statement guides us through Francisco Morales's work, which aims to motivate us not to remain in the superficiality of the first impression; it is an invitation to open our perception in an attempt to rediscover this dimension so ignored: the values of substance, an act that, in the lightning immediacy imposed on us by the dynamics of today's lifestyle, seems a lost cause.
Regardless of the atmospheres and sensations, the artist persists in giving value to that second plane, reserved for the almost extinct privilege of contemplation, where sensitivity and reason become accomplices for a moment.
The superimposition of glazes offers us images, whose reading leads us to a space, in which the intention of trapping and condensing instants, of encapsulating spaces, of rescuing facts from the inexorable flow of time, as memory sometimes does through recollection, becomes eloquent.
As a constant in all his art, there is a recurrent intention to achieve a balance between aesthetics and concept, and a marked symbiosis between material and motif. This means there is a full identification between the image and the support. The elements he uses to create his work are not an act of painting on, drawing on, or sculpting on, but of bringing the motif closer to the scenic of the material he is working with. In other words, if we observe a finished work on paper, white on white, the result suggests that the motif itself belongs to the paper. In the case of marble: the act of working on it is a search to become twinned with its structure, its nature, its poetry, its intrinsic value, and not an intention to intervene in the piece to create an alien motif.
Francisco Morales, whose training as an architect is evident but not imposed, offers the viewer a whole concept of the line - that succession of points that moves over a surface - and develops, with intelligence and sensitivity, a plastic game where the optical is complemented by deduction and reasoning.
The white lines that he traces freehand on tracing paper denote his mastery of the stylograph, a tool once essential for architects that is being displaced by the computer. These subtle grids are the lines of origin and the evidence of origin and vice versa, what is a line of origin is in turn an evidence of origin.
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The artist uses techniques elaborated by himself, obtaining as a result an apparent monochrome. His compositions seem more like restored scenes, wax blocks, opaque skins, light filters. The surfaces imply reflection, they have the particularity of containing details that seem to define themselves and struggle beyond the precision of the eye. The permanence of the three-dimensional perception reveals the presence of a trained gaze that at the same time captures a light that oscillates between capricious ranges with watery effects that wander between luminous white and deep gray until reaching absolute darkness.
The blurring of the contours makes the geometric presence barely noticeable, appearing in the compositions as a sort of scar, a tattoo, a drowned voice, an insertion in the background, where paradoxically it seems to move in an effort to emerge and make itself heard. The luminosity blurs everything as if it were a foamy dream.
