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Ambrosia Especular
1 min read
Esta planta, o parte de ella es espectral, nadie la ha podido tocar, nunca se le ve sola, siempre en grupo, lo que sugiere la siguiente hipótesis: "si Ambrosia existe solo es una , la que nunca muere y nunca nace, las demás solo son su reflejo y están para su protección desviando la atención de la flor originaria".
En los campos de Ambrosia todo es simétrico y espectral , parece mas bien un valle de espejos . las plantas de la periferia son pálidas y transparentes, mientras las del centro son violentamente azules o rojas , cuando uno trata de acercarse al centro para tomar la verdadera, prontamente entran en un vertiginoso y febril proceso de reproducción que confunde al intruso provocándole un sutil aturdimiento.
Se la llama Ambrosía por su dulcísimo aroma familiar a la lavanda y el toronjil , dicen que en el centro de su corola se encuentra un espejo donde podrás ver tu verdadero rostro.
En los campos de Ambrosia todo es simétrico y espectral , parece mas bien un valle de espejos . las plantas de la periferia son pálidas y transparentes, mientras las del centro son violentamente azules o rojas , cuando uno trata de acercarse al centro para tomar la verdadera, prontamente entran en un vertiginoso y febril proceso de reproducción que confunde al intruso provocándole un sutil aturdimiento.
Se la llama Ambrosía por su dulcísimo aroma familiar a la lavanda y el toronjil , dicen que en el centro de su corola se encuentra un espejo donde podrás ver tu verdadero rostro.
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My name is Legion
3 min read
The following is a text written by Claudio for the presentation of one of his latest projects at the University of Concepción, Chile. translated by stigmatattoo
The project "My name is Legion" spawns from the conjunction of two situations: one is the invitation from Andrés Durán and Pedro Fernández for exploring the creative possibilities of a torque game engine, which is a software designed for generating inmersion game enviroments with the capacity for being a territory engine, delivering geographic, luminic, tophographic and climatologic information, among other features. Which is to say, every element of a geographic enviroment.
The other situation is the "I is other" project, of which i take part along with colleages from the University of Concepción, Chile. This project reflects on the behaviour of authorship on contemporary visual arts.
So, my proposal for this project was generating a fictitious territory, the building of a body, the body of a colossus whose flesh would be the territory (much alike those blind, tongueless colossal beings from which the civilizing hero would extract the stuff to inaugurate reality after overpowering them), with the user – turned into an hybrid, fictitious being himself- being able to explore each one of its organs that will be more like stations/territories where the traveller will be able to communicate with others or experiment with the images and sounds of the enviroment, subverting the traditional gaming logic of supremacy and competition and turning it into an experience of vision, sound and constant transmission of information unfolding permanently on the web through the user's inmersion experience and his contribution.
The usage of this kind of technology means to generate in the visual arts' field a work in permanent process, which means a work without any possible conclussion...
the above mentioned reminds me of Borges' story "Tlon Urbis Tertius", on which he proposes the existence of a fictitious territory under permanent construction, or better yet in permanent conception; this territory exists not in itself but in its reflections, this is to say in the texts that describe it, in the maps that organize it, in the prints that illustrate it. In this territory, says Borges, the metaphysic does not look for the truth but for wonder and all philosophy is but a branch of fantastic literature.
The other main point of participating on this experience is the opportunity of working on a production team and dilluting myself as an author on the trade and knowledge of others; at a given time the team will have to include other areas like literature and music, at this moment i feel we are constructing the stage, the setting: the narrative will be generated along as it is used and unfolded.
Claudio Romo
24/ 11/ 2006
Claudio's work was featured on Unknown Artists: May Feature. Our appreciation to imogene for the article and to zeruch for the selection.
The project "My name is Legion" spawns from the conjunction of two situations: one is the invitation from Andrés Durán and Pedro Fernández for exploring the creative possibilities of a torque game engine, which is a software designed for generating inmersion game enviroments with the capacity for being a territory engine, delivering geographic, luminic, tophographic and climatologic information, among other features. Which is to say, every element of a geographic enviroment.
The other situation is the "I is other" project, of which i take part along with colleages from the University of Concepción, Chile. This project reflects on the behaviour of authorship on contemporary visual arts.
So, my proposal for this project was generating a fictitious territory, the building of a body, the body of a colossus whose flesh would be the territory (much alike those blind, tongueless colossal beings from which the civilizing hero would extract the stuff to inaugurate reality after overpowering them), with the user – turned into an hybrid, fictitious being himself- being able to explore each one of its organs that will be more like stations/territories where the traveller will be able to communicate with others or experiment with the images and sounds of the enviroment, subverting the traditional gaming logic of supremacy and competition and turning it into an experience of vision, sound and constant transmission of information unfolding permanently on the web through the user's inmersion experience and his contribution.
The usage of this kind of technology means to generate in the visual arts' field a work in permanent process, which means a work without any possible conclussion...
the above mentioned reminds me of Borges' story "Tlon Urbis Tertius", on which he proposes the existence of a fictitious territory under permanent construction, or better yet in permanent conception; this territory exists not in itself but in its reflections, this is to say in the texts that describe it, in the maps that organize it, in the prints that illustrate it. In this territory, says Borges, the metaphysic does not look for the truth but for wonder and all philosophy is but a branch of fantastic literature.
The other main point of participating on this experience is the opportunity of working on a production team and dilluting myself as an author on the trade and knowledge of others; at a given time the team will have to include other areas like literature and music, at this moment i feel we are constructing the stage, the setting: the narrative will be generated along as it is used and unfolded.
Claudio Romo
24/ 11/ 2006
Claudio's work was featured on Unknown Artists: May Feature. Our appreciation to imogene for the article and to zeruch for the selection.
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Imprudent Flora - Art Weekly I
3 min read
The new pieces belong to two book projects Claudio has been working on: a fictitious herbarium consisting of 10 fantastic plants and their descriptions as told by the expedition that discovered them (The Album of Imprudent Flora), and a catalog of 30 imaginary beasts. Most pieces have been digitally edited, adding textures and colors. Still i think their spirit lays closer to the drawings that originated them (skillfully penciled and inked as to resemble lithographies), which is why they are tagged as Traditional / Drawings.
u p d a t e: The following is a text from The Album of Imprudent Flora written by Claudio and translated by stigmatattoo.
Flamigerous Calliope
It has been said that this exotic plant "...is born from bonfires, feeds from the fire and creates deserts behind it".
Its leaves are little igneous tongues of variable density, never growing beyond two or three metres, but a group of them can lay waste to a whole valley.
Ever since the dawn of mankind, the Calliopes, ancient plants that they are, were always present at the midst of the communities. But soon their dangerous instability and the discovery of manual ways to produce fire set them away from humans, slowly becoming a mythical tree. Certain trade lineages, like blacksmiths or ceramists, still grew them for their service until recently, but always keeping their existence as a secret.
Its name Calliope is due to the popular belief that they were fragments of its namesake star, fallen from the sky long ago, even before the birth of men, and still burning and waiting to return to their mother.
In the X Century, the Penitent Judas' sect – also known as The Imploring – worshipped this plant and saw in it God's own raging hand, proclaiming that a rain of such plants would announce the end of the world.
It is also said that warming oneself with the fire from its foliage is good for the pains from arthritis and lumbago. I once attempted to capture one and bring it back to the mainland, but it became excited from the comings and goings of traveling and ended up carbonizing the ship.
Next page's illustration depicts myself, examining a Calliope's cutting and well protected by a diving helmet.
www.deviantart.com/deviation/4…
I will let you know of the eventual availability of this books.
u p d a t e 2 : Claudio's work has been featured by alchemism on ART Weekly I, which every Sunday will present seven would-be-Daily-Deviation pieces. dA's administration has stripped alchemism of his Gallery Director's duties over a piece chosen by him as a DD which was reported as sexually explicit. Show alchemism your support, or just discover seven choice works at ART Weekly I.
this account managed by stigmatattoo
u p d a t e: The following is a text from The Album of Imprudent Flora written by Claudio and translated by stigmatattoo.
Flamigerous Calliope
It has been said that this exotic plant "...is born from bonfires, feeds from the fire and creates deserts behind it".
Its leaves are little igneous tongues of variable density, never growing beyond two or three metres, but a group of them can lay waste to a whole valley.
Ever since the dawn of mankind, the Calliopes, ancient plants that they are, were always present at the midst of the communities. But soon their dangerous instability and the discovery of manual ways to produce fire set them away from humans, slowly becoming a mythical tree. Certain trade lineages, like blacksmiths or ceramists, still grew them for their service until recently, but always keeping their existence as a secret.
Its name Calliope is due to the popular belief that they were fragments of its namesake star, fallen from the sky long ago, even before the birth of men, and still burning and waiting to return to their mother.
In the X Century, the Penitent Judas' sect – also known as The Imploring – worshipped this plant and saw in it God's own raging hand, proclaiming that a rain of such plants would announce the end of the world.
It is also said that warming oneself with the fire from its foliage is good for the pains from arthritis and lumbago. I once attempted to capture one and bring it back to the mainland, but it became excited from the comings and goings of traveling and ended up carbonizing the ship.
Next page's illustration depicts myself, examining a Calliope's cutting and well protected by a diving helmet.
www.deviantart.com/deviation/4…
I will let you know of the eventual availability of this books.
u p d a t e 2 : Claudio's work has been featured by alchemism on ART Weekly I, which every Sunday will present seven would-be-Daily-Deviation pieces. dA's administration has stripped alchemism of his Gallery Director's duties over a piece chosen by him as a DD which was reported as sexually explicit. Show alchemism your support, or just discover seven choice works at ART Weekly I.
this account managed by stigmatattoo
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On Atanasio
2 min read
+ as most of you know, this account is not directly managed by Atanasio (Claudio Romo) but by me, stigmatattoo. i haven't been around enough to manage my own accounts (stigmatattoo's and astigmatic in case you wondered), let alone answer to Atanasio's plentiful messages. it was a great surprise for me (and a great pleasure for Claudio) to get a Daily Deviation soon after his joining dA... although "surprise" is not really accurate. i was sure Claudio's art would be of great interest to everyone here, and as exciting and awe-inspiring as it is to me. so, thanks are in order to everyone who expressed their support. i expect to have more images soon, as i know Claudio has been taking part in some very interesting projects lately... among them some breathtaking children book's illustration which i hope will be free from publishing issues so i can show them here.
Claudio's work is being featured on the latest PixArtisan's Limited Edition Gallery. +
Claudio's work is being featured on the latest PixArtisan's Limited Edition Gallery. +
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The Transparency of Language
4 min read
We live in a paradox. There are few words for us, our vocabulary is limited as much as it gives us the sensation that our possibilities for thought are infinite. And so, at the same time they define, they enslave us. The language sets the borders for the relationship variables, giving every feeling, image, speech or action an exact place in the complex communicational system we move upon. The paradox lies not only in this definitorial relationship, but in our strange assurance of believing we invent for the first time each one of our movements and senses, when deep down it is only language, which precedes us. And it is at this point that the art of our days is presented as revolutionary, because it turns things visible as it moves them from the standards of visibility given by that system, which is to say, it exposes us to the invention it represents and its mechanism of communication.
This is why, when we see a contemporary work of art, one of the questions that may arise relates to what that visible thing is, that hidden in its everyday name, we no longer see as a construction, and how and under which artistic excuse it is mobilized for it to name and question our linguistic relationships under some visual combination.
The works presented by Claudio Romo are framed within this line of mobilization. His pieces expose cultural codes under the body's structure. The body displays the social need of inscribing oneself under cultural codes in order to be percieved with validity. By exposing the human body in the codes of deformity, laceration and mutilation, referencing its relations with the symbolic systems of the sacred and profane, it invites us to the display of the suffering of peripheral living, by exclusion. Of the pain of being disapproved of. This is how the body, that measureless and priceless space for each for sheltering our humanity, incarnates the narration of the figure of man, the surface that suffers the price of belonging to order and the civil code.
But Romo does not work the body's figure directly. He does not display his body or works over other's. He rests on the classic techniques and materials of printmaking – the photo scares by its relation with reality, unlike the strategy of drawing, which fascinates and bewitches-, allowing the blood and keeping away the abject from reality, for he aproximates the anomalous fiction in its closeness and distance from men's pathologies to be able to say what one wouldn't want to see. He even exposes the difficulty of describing something that is outlawed, the unnamable, what can't be thought, in other words, that which does not exist. Hence the circus' attractive, the circus' fright. The circus frightens when it shows what's real, like the bleeding wrestler, the broken saints, the burning curses, the wrinkles in the man's skin.
Romo, through the work of simulating photographic or cinematographic close-ups, the references to pages of scientific or medical study, to religious illustration, the obsession and saturation of linework as texture and delirium, the text that references apocryphal doctrines, profane dwellings. Displays and exhibits a body imperfect by current standards, without make-up or patronization, it its whole humanity, to give account of what the system's order calls "deficitary" or "monstruous".
In other words, Claudio shows through the body the taming of culture and its judiciousness. He displays the body as a place of punishment for nature in its possibilities, as a place of sacrifice but also of birth and subversion of language and its statement.
Barbara Lama.
From the catalog for Claudio Romo's exhibition "Images for an Apocryphal Anatomy", Pinacoteca of the University of Concepción, Chile. 2005.
+translated by stigmatattoo+
This is why, when we see a contemporary work of art, one of the questions that may arise relates to what that visible thing is, that hidden in its everyday name, we no longer see as a construction, and how and under which artistic excuse it is mobilized for it to name and question our linguistic relationships under some visual combination.
The works presented by Claudio Romo are framed within this line of mobilization. His pieces expose cultural codes under the body's structure. The body displays the social need of inscribing oneself under cultural codes in order to be percieved with validity. By exposing the human body in the codes of deformity, laceration and mutilation, referencing its relations with the symbolic systems of the sacred and profane, it invites us to the display of the suffering of peripheral living, by exclusion. Of the pain of being disapproved of. This is how the body, that measureless and priceless space for each for sheltering our humanity, incarnates the narration of the figure of man, the surface that suffers the price of belonging to order and the civil code.
But Romo does not work the body's figure directly. He does not display his body or works over other's. He rests on the classic techniques and materials of printmaking – the photo scares by its relation with reality, unlike the strategy of drawing, which fascinates and bewitches-, allowing the blood and keeping away the abject from reality, for he aproximates the anomalous fiction in its closeness and distance from men's pathologies to be able to say what one wouldn't want to see. He even exposes the difficulty of describing something that is outlawed, the unnamable, what can't be thought, in other words, that which does not exist. Hence the circus' attractive, the circus' fright. The circus frightens when it shows what's real, like the bleeding wrestler, the broken saints, the burning curses, the wrinkles in the man's skin.
Romo, through the work of simulating photographic or cinematographic close-ups, the references to pages of scientific or medical study, to religious illustration, the obsession and saturation of linework as texture and delirium, the text that references apocryphal doctrines, profane dwellings. Displays and exhibits a body imperfect by current standards, without make-up or patronization, it its whole humanity, to give account of what the system's order calls "deficitary" or "monstruous".
In other words, Claudio shows through the body the taming of culture and its judiciousness. He displays the body as a place of punishment for nature in its possibilities, as a place of sacrifice but also of birth and subversion of language and its statement.
Barbara Lama.
From the catalog for Claudio Romo's exhibition "Images for an Apocryphal Anatomy", Pinacoteca of the University of Concepción, Chile. 2005.
+translated by stigmatattoo+
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