Looking back on the whole work, you can find a constant theme, that appears from many points of view and differents attitudes, that theme is the human being. You may wander from where do I take the images o where do the scenes that I paint come from; well, the answer is a gathering of ideas that has to do with my imagination and visions that I capture from reality surrounding me. The main characters from the painting are people from my social environment, people with a speciall sensibility for art in many of its faces. Through a dialogue with them, I encourage them to performe, with the body, different states of mood, moments and situations that has to do with the everyday life, with imaginery, with the human feeling. Then, I take those images as anatomic references and as the beginnig of a creative process. In the Series Apocalipsis, women and men get together in scenes that border the theatrical and the unreal; backgrounds where they melt in a bright light that flows through the figures and rocky surfaces. Other scenes are more earthy, they are placed in the inside of the home, with female main characters locked into an enclosure and into themselves; keeping an introspective attitude, state of mood that takes me to the most intimate moments of people, when they are completly alone they find their inner “me”. The light factor takes out the prominence of the home furniture and wraps all the components of the scene with the same climate, that suggest mysticism. In some works the game of chiaroscuro gets prominence, giving up the bright colors so the light can win some space. A point of reference through my works is the Italian Baroque, specially Caravaggio, its principal exponent. By the other way, in some other paintings, the colors are extremely vibrant, with a smoother light, the different shades of color are reflected on the skin, backgrounds and clothes. My most important training, my knowledge, beside my teachers, I acquired it from the great painters of the History of Art, through detailed study, reproducing works and analyzing the paintings, wich are my highest references when the solution of a problem is required. What you will see in this page is the result of many years of working and exclusive dedication to painting and teaching. Its a mix of great teachers, lots of everyday work and lots of love for what I do, three things that together makes the technique goes beyond to support a plastic speach in profits to delight the senses and soul. In times of digital aesthetics and discredit of the artist occupation, figurative art, traditional art, let us go back to the aesthetics where the aim is the beauty and the light. Mercedes Fariña Plastic Artist |