Art as a mutation and ceremony. Coming from the fragile framework of lines, new organisms appear, allegories of change and transformation. Art as an invitation to see another reality with a different eye.

Hans Haufe (Art historian- Germany)

Challenges and Battles of the Imagination

As I became familiar with works done by artists in the past and the present as lithographs, xylographs, calcographs and silkscreens, the pleasure for these techniques began to develop in me.

Practicing them allowed me to understand their tools, materials and qualities. Metaphorically, it has been like learning different languages. I could observe that their messages identify with the codes of each technique, and each one has its own identity, that is, each technique transmits its own message, parallel to the ideas expressed. The challenge is then to think according to these languages and to imagine what can be achieved with them, having creative expression as the purpose. This is the incentive.

From this it follows that the graphic media becomes a challenge and a battle for the imagination. To experiment its alchemy has been motivating and enriching.

As I immersed myself in these expressions, I have perceived that the graphic techniques have the same creative value that other visual languages have. The possibilities of printing are in- exhaustible; it all depends on the creative purpose for their qualities to appear in this cosmos of writing and plastic expression.

In the same way, I appreciated the generosity of this technical media to multiply the originals that become an advantage to reach a greater number of spectators who enjoy the creation and quality of each one of the prints made with these techniques.

Edmundo Aquino (1999)

The Language is the Message
To conjugate the color, shape, line, chiaroscuro, texture, material which convert into a language that tells us of its own truths, of its beginning and its end, as a necessity to shape itself and to find itself; a language of multiple metaphors and suggestions of other literal subjects that are not necessarily the subject of the language itself.
The plastic language itself becomes the theme, the expression and the message.
The language is the message.

Edmundo Aquino (1982)

My plastic expression cannot be considered homogeneous, but instead heterogeneous, because in my work there are different problems and concepts. This heterogeneity in my expression has come from diverse motivations, in some instances well thought out and in others with greater spontaneity. Nonetheless, in these plastic spaces one can perceive gestures, unconscious and conscious obsessions that appear as constants that lead to the same problem- the dramatization of the plastic language. Inherently in these plastic modifications, I have always been interested in simplifying the identity of my language, independently of the figurative, non-figurative or other intentions. In this ideal of creative freedom, I continue trying to approach what I intuitively perceive as the expression of my plastic motivations, and in this way, to communicate with my era.

Edmundo Aquino (1985)

To draw; to make; to follow a movement; to imprint the marks of the sensibility of one's fingertips and imagination, modeling and modulating a line, a spot, a shape, a space that tells a story of the unexpected, of the light, the shadows and the time that represent a concrete and abstract world, of obsessive abstractions that become a reality, a reality of emotions and vibrations revealed with their varied nuances of expression and means; a reality with its own laws, independent and interrelated, with echoes of here and there, of within and without, of other worlds and our own.

Edmundo Aquino (1990)