Studio Angel Correa, London SW9
I personally believe such an enquiry of matters such as physicality, morphology and fragmentation must ultimately explore both cultural and individual understandings of what is socially acceptable in terms of the manner in which the body, physical presence, and ultimately life and death are perceived. Moreover, it can also with some justification interrogate various themes concerning what is termed the supernatural and the sense of ‘hauntedness’ that often arises from traumatic experiences.
The protagonists in my current work are generally men who; alongside others who have endured profound and unimaginable violence; are depicted as though human figure through the concept of positive space and negative space; silhouette, and contrast. My intention is to dedicate myself to the representation of real or imagined events, dreams and myths, or classical themes through the use of line, pattern and fragmentation.
In context of my creative process, I hold at the forefront of my mind a deeply-personal narrative which reflects on the horror of certain aspects of our present-day world. Having lived myself through the midst of decades of social conflict in Colombia, violence and terrorism in which millions were violently killed, injured or simply vanished without a trace, I’m able to articulate rich personal experience within my enquiry.
In context of my enduring curiosity about how we retain a sense of ‘purpose and meaning’ by co-creating various beliefs and then accepting them as truths, I often find myself in pursuit of such polarised and universal concepts as death versus life, hate versus love, chaos versus balance, violence versus peace, and fantasy versus reality.
As a result of my efforts to explore in some detail various concepts embedded in surrealistic art and magic realism, much of my work is about distorting the images in pursuit of depicting a sense of wholeness; and of life-force; to an otherwise impaired body or mind.
In that sense, my viewers have been encouraged to access their own past visual and somatic memories by means of my own art, all whilst reflecting on my surrealistic notion of human figure – in this case typically deceased or profoundly injured servicemen who somehow found the means to ‘come back from the brink’ in order to inspire their relatives and loved ones, comfort them, and encourage them to extract greater meaning from their own lives and contributions.
It is my hope that viewers of my ideas and readers of my narrative are drawn to something visceral; something based on their own unique past histories (as well as past considerations of life and death) in consideration of the ‘space in between’ the gift of life and the moment of death. I realise that such a reflective journey on the part of an observer can catch one off guard; it can be powerful, emotive and sometimes profoundly healing, as well.