Lindomar Placencia’s Invisible Man Series places in front of us the public-private relation; he makes us think about it. Visualization becomes a trap. We are able to see the self portrait of the artist through the white surface, the everlastingness of the character through the void, the possible readings interacting with all its meanings. The proposal is that approach to knowledge as desire. The absence, the not-being gives us a subject transgressing limits in relation to his otherness.

Francis Bacon is one of the examples in History of Painting in which human image is destroyed by the violence. Lindomar closes all figuration possibilities from the minimalization of the drawing. Body presence does not matter. Many resources are going beyond any metaphysical interpretation and substantive-universal relation. As it was expressed by Shakespeare using Otelo: Who am I if I love today and hate tomorrow? This artist wants to take us into the deepness and contradictions of the modern character, once again over the author’s death subject as well as interested Roland Barthes speaking us about the death of representation itself. On the other side, his work has no beginning or ending, it goes further any transcendentalism, makes us think by not thinking from the no-place. In his last novel “Birds on the beach” Severo Sarduy comments as follows: “Every void is absence, is an attempt of abstraction and motion, emptiness, a shape to a content’ s possibility. So that is filled up is inert. The void is an essential condition of motion and life”.

Jorge A. Fernandez Torres
Curator and art critic
Texts for the catalogue, Writings. Mytos Gallery. 2003