Your own body a seismograph

that captures beauty like nobody else

of the underground swell,

the patient construction

of the fault.

Claudia massin

Disorder is essential for "creation",

while it is defined by a certain "order".

Paul Valery

I work from the marks and rubble, the imprint of what has been consumed. I look for those places with fuzzy edges, where the waters mix: the sweet sea. I test a deformed and jumbled geometry, which arises from the observation of urban “geographical accidents”: melted pavements, tangled cables, twisted iron and others.

Start point:

It is nothing new, they are remnants of demolition.

. . . . . . . . . . . . . . . . . . . . . . . . .

Art is contained in that gaze, a previous image that comes into focus when Julia finds the remains that match her and translates them for us.

That look that, like a sharp pencil, like a scalpel, reviews and replicates the shapes of those residues.

His work keeps time silent, the time it took for those pieces that were part of a construction, of a destruction and that are scattered, waiting for their sublimation, dispossession-work; brake - delight.

Favorite Situation of Art.

Alchemy.

Julia refers to seismography, she likes the idea of ​​being the seismograph, that her work is done,

be a medium of those traces.

Traces,

raw material of his art.

Maybe as original support.

The definitive support comes next: paper, wood and that sharp look - it's already a scalpel or a saw.

Color - it happens.

And so and everything, with that imperious explanation of the discovery of the motive and the mediumistic and laborious process presented and present, thanks to his art this secret - clandestine scoop appears.

Juan Jose Cambre