The French thinker Roger Garaudy has said that “abstract painting is a form of metaphysical thinking or a mystical participation in the deep and mysterious reality of thing”. This assertion helps connect us to Gustavo Paris’ paintings, who through the magic of art is intent on exploring what is beyond material aspects, beyond the physical appearance of things, allowing a full internal realization of both the creative being as well as the one contemplating the creation. Every creator has an ability to transform the world – whether near or distant from him or herself – into something more significant than its natural appearance. This is particularly true with regard to a creator oriented around their eagerness to abstract, a disposition which attempts to make visible that which is the essence of a profound reality, to accomplish a magical apparition of the invisible, which is nothing more than capturing and attempting to represent – or shall we say, to present – the soul, the spirit, the primary substance of things. They attempt to observe that which is beyond our senses and our intellect.

Every non-figurative creator is bent on transcending common things in order to arrive at the spiritual through an implicit act of faith, which manages to transmit to a truly sensitive and intuitive spectator. In Paris lyrical abstractionism, we notice a voyage towards an internal landscape, and in some way, a connection with the cosmos from the internal consciousness.
Through his paintings, he seeks to inquire into the fathomless internal landscape of the human being, to reveal something belonging to that non-visible reality, which we suppose is in connection with the cosmos, being that we are cosmic dust, a part of the universe. Paris directs the poetic aspects of his visual production towards the exploration of the invisible, that which is at the foundation of our internal universe in communion with the “Exo-planetary”. The abstract iconography of this artist, his aesthetic language, his expressive resources, are constituted by faint colors, gestural and transparent blotches, combined with strong and dynamics strokes, which in a very discreet manner turn into craquelure, drips, and textures. In the end, Paris’ artistic activity can be understood as a way to dabble into another reality of a mystical, magical, and cosmic orientation, which also possesses an enormous poetic and lyrical content.

José Gregorio Noroňo
Art Critic. Researcher. Curator.

Contact us