Abstract
The creation of an imaginary always implies the construction of a visual stratification, of an scenario of action in which the elements interact within each other. It is interesting to note in this sense how etymologically the word “scene” originally indicates a covered, closed, protected place, the opposite, therefore, of the idea of the scene that we have nowadays, considered as a place of opening, of exhibition or of manifestation. However, the cover has the function of protecting the cruel delicacy of what is being staged, and it is impossible not to consider the scene as a pattern of frames aimed at showing only what it is chosen to be shown. A structured imaginary, therefore, exhibits all its aesthetic complexity in the inextricable intertwining that arises from the dialectic that exists between the layers at stake within it. The imageries present in this exhibition can be considered as two-dimensional scenic beauties that praise, each in its own way and each one according to the visceral artistic search that distinguishes the stainless and delicate maze formed by the parts of these visual settings stages and their fleeting equilibrium, the rhythmic use of tenacious and graceful allegories, based on the deep investigation of spatiality and color. Therefore, as we pass through the proscenium that “Constructing an imaginary” gives us, we arrive at that liminal and intangible non-place that blossoms from the perennial dialogue full of reverberation that is established between the eye and the polyedric vastity of these two-dimensional imaginaries.