The perfect circle is the title of this exhibition which brings together a collection of works whose common denominator is the circular composition, which has been used a lot in my work throughout my artistic career.
It is a tribute to the most elemental and primitive of forms. The closed figure of the circle represents perfection, homogeneity, the closed, the impassable and the protection, it constitutes the most universal expression of the unique being. Circles evoke eternity, wholeness, community and unity. It is perhaps the simplest of the figures observed by humans at the dawn of their existence, through the sun and the moon, and it mesmerised a whole generation of young artists during the Russian Revolution, such as Alexander Rodchenko who, inspired by another fan of circles, Malevich, painted a series of works based on this perfect geometric figure. It is one of the most analysed shapes in geometry, its perfection and simplicity have made it a representative symbol of divinity, infinity and intimacy. These characteristics have determined that it has been one of the most used and recurrent compositional schemes in the world of Art.
These geometrical compositions, without any figurative reference, made of circles of different colours, harmoniously centred in space, sometimes appear as a circle-unit in a single format and on other occasions two or more circles touching and superimposed on each other, forming tangents or secants (see as a novelty the four intersecting circles forming a composition in the shape of a flower).
In relation to the technique I continue to use torn paper, a creative process of construction of the work that I have been using for quite some time. I build the surface on the canvas stretched on a wooden frame, from the bottom upwards, by superimposing strips of paper, previously torn, which are glued in an orderly parallel fashion until the composition is complete. The result is a work of vibrant visual texture that changes, to the observer’s eye, according to the varying incidence of zenithal light on the surface of the painting.
Conceptually, these works maintain the same line; they move away from any interest in imitating nature and acquire their own internal laws that make them autonomous and defend their value by themselves, not by reference to preconceived ideas or objects.
Fernando Daza
