Francisca Blázquez



The dimensional objects of Francisca Blázquez.

The surfaces bend, narrowed, grown, improbably folded, are unfolded as reflected in the water or expand from capricious forms, although with harmony, in always beautiful and simple colors.

It is the secret universe overwhelmed with dimensions that keep awake linen canvasses of Francisca Blázquez (1966). Dimensions, this is the key. The last scientific theories even work with ten or more dimensions. If we believe to live in four (wide, high, bottom, plus time), it is because the others are microscopic, imperceptible, although, like light filtered by the lens of a projector, that completely illuminate the screen of our life.

The Big-Bang, very intuitively represented by Blázquez in works as "Forms", "Universe" or "Circles", privileges the dimensions known at the cost of those yet unknown. While the first seem to expand, the second become progressively smaller.

But if, in a distant future, the Big Bang were reversed, it would happen the other way around: the hidden dimensions would be made greater more and more, and the well-known ones would be condensed towards a very small thing. In any case, to see them, we will not have to wait to such mysterious future, when probably human beings have disappeared from the universe. We can make it here and now thanks to the arduous and amazing work of Francisca Blázquez.

Is a characteristic of true artists to submerge into the invisible net just to emerge with unknown realities. The genuine creator inhabits simultaneous times and knows how to put before our sight pieces of existence from past centuries, and those, which are yet to come. Blázquez, belongs to these kinds of artists doubtlessly, she is one Argonaut in the unknown dimensions who unfolds them before us. She knows time can be contracted or dilated, and she journeys pleasing by. It is like a Nostradamus that opens doors beyond

the images of million years light carries to us. For such magnus passage, she has not chosen a powerful spaceship, but something fast and much more effective: the imagination. It could not be of another form. Imagination is a freeway that connects us with dimensions our blunt senses cannot glimpse. Mind. Imagination. Quantum world. Three elements, in my opinion, interchangeable. As Giordano Bruno said: everything what can be thought is real.

Is very clear that not everyone can make the trip towards mystery. We need an experienced, opened, peculiar, audacious mind without complexes. A mind that, when closing our eyes, breaks the limits and gets into the complexity of whichever surrounds us. A mind that knows to formulate the mathematics of imagination. Because mathematics is such a field full of imaginative possibilities. A mind that has been exercised in the gymnastics of lucubration, which had lost itself in parallel universes, as well being multiplied by possible worlds.

Francisca Blázquez has this mind. She knows how to lead with extreme skill among the labyrinths of the most varied and vast dimensions with the clearness of acrylic touches or the precision of a computer, transforming it into concrete objects. There she shapes a "Geometry in Space" or takes us to a simultaneous existence in "The Brief Interval of Hope" or introduces us to antimatter through her "Space" series and "Found Spaces". Then she expresses matter toward us arising from anything in "Red the Ascending One in Black" and "Ardent Circles", or shows the creative paper of light in "Dimensional Light", "Yellow Texture" and "Sphere Light". Blázquez is not lost in chaos like those who prevented by the trees do not see the forest. She goes further on, moves away and understands that chaos is an appearance; that the "trees" conform immense, winding, labyrinth forests. Or dimensions. Where others are stunned, Blázquez prevails by the roundness of her logic, by her intuitive spatial capacity, her gift of perspective. And perhaps she is a painter by chance but she could also have been a physicist or even an astronomer.

Blázquez is not a skilful traveler who moves away from our miseries to take a walk egoistically into the cosmos. On the contrary, her art totally illuminates the reality in which we sustain ourselves. Her dimensions are the machines of our body and our behavior. They are the forms of our soul. They are there not only so we can intuit deeper into the universe, but also we could intuit ourselves. We must see the dimensional objects

of Blázquez like maps of the dark and mysterious universe, one to which modern science has not been able to accede, and like maps of our own beings, in which hardly modern psychology has penetrated, or the flaming neurobiology. For that reason, the artist has overlapped geometry, movement and body in one of her beautiful and most lucky series, 'Dance and Dimensional Geometry', from which we could mention "Love", where the geometric thing incarnates itself in the dancers, and "Dancing Triangles", in which both dancing and geometry are glued.

If the universe is a symphony of supercords, Blázquez makes objective in its linen canvasses its different vibrations. And thus, accordingly, we will like more or less her paintings. Because each human being is a different dimension, and is natural that each one vibrates in a singular way and yearns for those other vibrations that affect their interior, which are the number of their personality. The peculiar thing is that, just as two identical men do not exist, just as at the heart of each one of us sounds a particular vibration, there are not two linen canvasses of Francisca Blázquez that look alike. Each one of them represents a dimension absolutely different from the others. Working on so difficult objects, makes me admire her capacity to go always beyond. Even in this sense, Blázquez does not betray us. Each one of her figures is a coined pure gold piece of a new form. And I say gold because the beauty is consubstantial to her work. Blázquez leaves the ugliness, which has formed the 20th century to recover beauty, which, in her, does not have anything to do with the pretty thing, but with findings, light, and symmetry. It is, as scientists say, the simplicity of an idea that explains with easiness the most complex. The beauty of the art of Blázquez is how, from the simplest, the most unimaginable dimensions arise. The spectator has the intuition that whatever is showed to him is true.

Blázquez brings before us the complexities of Bosch, Arcinboldo, and Escher, projecting them towards the kingdom of the subatomic thing, making to emerge the beauty that lives in its bosom. And fulfills therefore the characteristics of a new aesthetic or aesthetic of the quantum one, defined as "mystery plus difference". This last one because Blázquez looks for neither the equality of the universe nor to repeat herself. Each finding is as we have been saying, only a way to arrive to another. Her preoccupation is the immense variety of what surrounds us. The imagination of the artist is fecund and detests stagnation. As far as the mystery, what another thing are her linen canvasses but mystery objectively exposed to our contemplation? Let us think about "The Blue of Mystery". It is not that her pictures keep awake it, simply make us penetrate it. Blázquez obtains with her artwork a treaty of the vast mystery in which we live.

When few contemporary artists are able to do this, because they have been centered in the crudest and concrete of existence, in detritus: meat without horizon. Blázquez has loaded to her back a new paradigm. She knows without a doubt that, in such a trip, which is her life, her artwork will win, filling of a pictorial sense the new century.

Gregorio Morales
Translated by Alberto Cerritos




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