oneself: in itself, on the self, on myself, this are some of the meanings of the word he has chosen as title for his recent exhibition, (…) photos of walls presented by the artist as wall papers.

The gender and medium he chooses to work are the most important since they are containers of meanings, therefore it will be counterproductive trying to locate him in a unique discipline of the visual art; he works on installations, drawings or photography according to his necessity of experimenting with mediums, he may want to transmit to the viewer his creative experience.

Considering photography as a medium he places it as a questioning of gender itself who finishes as paper on the wall, that’s why he uses the most conventional medium (photo paper) to print his photos, so he “dresses” the space-gallery’s walls with the outside walls. We find a game with language right from the title into the visualization. The artist remake the tradition marked by the bi-dimensional work signed for the picture as a window, a window which approaches us to the creative journey; Lindomar has blocked off that window, he has veiled what he wants to show that it doesn’t mean there is nothing behind it or a suggestion of a tri-dimensional space created right from the bi-dimensional space. Lindomar points a journey marked by this attitude, the rest is individual sensitivity, the non-transferable experience between the spectator and the work which is, and anyway, what the artist praises the most. Lindomar understands the art as a way of transparenting ideas, the work functions as a language between him and the spectator, that private dialog which need no words.

Lien Carrazana Lau
Artist and curator