Manuel Blazquez

Manuel Blázquez - Lippi 1/4

Biografía del Artista: Manuel Blázquez's artistic research focuses on the study of two essential variables of the human being, space and time, based on a plastic work that is difficult to categorize, straddling different artistic disciplines such as engraving, writing and architecture. The development of this research is based on the search for and establishment of possible relationships between arithmetic and geometry. Sometimes, by adapting certain numerical sequences to the physical limits of the different paper formats used. Other times, by taking the divisors of said limits as “guide lines” in the development of the different series. This “programmed” way of operating is not contrary to intuition or to the vibration that every artisanal process implies. “The task consists in making all the repetitions coexist in a space where the difference is distributed,” as Deleuze explains in the prologue to his work Difference and Repetition, a difference distributed minimally and progressively throughout all the works in form and content. From a visual point of view, we can relate this research to previous experiences that seek an intimate, clear and simple relationship between the most basic and essential elements of geometry and graphic language. Authors such as Agnes Martin, Antonio Calderara or Giorgio Griffa are clear examples and exceptional references in this sense. Finally, on a conceptual level, Blázquez's work can be related to artists who have used mathematical or numerical canons to develop their visual proposals and delve into procedural aspects linked to human programming (Sol Lewitt, Hanne Darboven, Irma Blank, etc.) but also computational (Elena Asins). ----- The artistic investigation of Manuel Blázquez focuses on the study of two variables essential to human beings, space and time, based on a plastic work that is difficult to catalogue, divided between different artistic disciplines such as engraving, script, and architecture. The development of this investigation results from the search for and the establishment of possible relationships between arithmetic and geometry; sometimes, through the adaptation of particular numerical series to the physical limits of the different paper formats used; other times, taking the divisors of said limits as the “guidelines” for the development of the various series. This “programmed” mode of operation is not contrary to the intuition nor to the vibration that every artisanal process implies. “The task consists of making all the repetitions in a space where the difference is distributed coexistence,” as Deleuze sets forth in the prologue of his work Difference and Repetition, a difference distributed minimally and progressively across all the works in form and in content. From a visual point of view, We can link this investigation with prior experiences that seek out an intimate, clear, and simple relationship between the most basic and essential elements of geometry and graphic language. Authors such as Agnes Martin, Antonio Calderara, or Giorgio Griffa are clear examples and exceptional references in this respect. Lastly, on a conceptual level, the Blázquez's work can be related to that of artists who have made use of mathematical or numerical canons to develop their visual proposals and delve into procedural aspects linked to human programming (Sol Lewitt, Hanne Darboven, Irma Blank, etc.) or also computer programming (Elena Asins).