“You talk about what you want to do as if it were something known, as if you knew what it is, and in reality it is an unknown where the answers to the questions that arise at work are always relative, open…”

“Emotional cartography”, Nahikari, 2012.

The introductory words of the aforementioned exhibition are suitable to explain that the structuring principle of the paintings in this exhibition  is in the making of them.

Thus, successive layers of acrylic give consistency to the pictorial surface, hiding the gesture and showing a cottony, transparent and integrating appearance. This process of accumulation of layers of paint or the use of the palette knife creates a second image that floats suspended in the atmosphere of the painting and, at the same time, settles on it like a figure without definable form.

On some occasions the image disappears and the painting itself, without prior ideology or method, questions itself, in a territory without rules, where textures and tears are the witnesses of the process.

Other keys to the process are: the color, admitting the entire palette, and the light, which is gently trapped, as if suspended throughout the surface, creating an atmosphere that you can almost breathe, touch... Space, without being represented , it is intuited, and it immerses us in a “landscape” in which the eye and the body  as they contemplate the painting, redefine, with each movement they make,  la image that is retained.

Aitor Sarasketa