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William Fares at Fábrica La Aurora

By Viridiana Gutiérrez Tejeda

William Fares surprises us once more this Saturday, August 5, by presenting a new display of work done specifically within the frame of his exhibition “Presence of Absence” in correlation with the series previously exhibited in the in correlation with the series previously exhibited in the Skot Foreman Fine Art gallery. Approaching his work requires so many dimensions that it is necessary to become an active spectator, to imbue ourselves with the visual potentiality of the most subtle and pure abstraction—in this case, the color.

Art
“Presence of Absence”
Work by William Fares
Sat, Aug 5, 5pm
Skot Foreman Fine Art
Fábrica La Aurora
Free

What is our perception of the artistic object? The problem here is the subjectivity inherent in the individual perception. The response to the visual stimulus, in which colors affect us in a symbolic, psychological, and biological way, influences our encounter with the work of the artist. Color is light; it is the space that will allow us to enter a world of light where color works as a pure optical phenomenon. The light makes possible the revelation of the forms and therefore of the colors. However, on the other hand, “color itself is a degree of darkness,” according to Goethe, and in this case, this idea can’t be more accurate because we go from color and light to get into the void. That inert space that generates shadows which can also be found in the colors, in this case in the intentionality of generating holes full of possibilities of existence.

This duality in coexistence is the playful part with which Fares involves us. The plane goes beyond subjectivity, exceeding individual boundaries to empty the interior. The linear break delimits simple forms in appearance, but for anomalous characteristics in its center, presents a kind of resistance when looking for solutions within the geometric shapes, either by dividing, being part of or joining and appealing to open the field of consciousness. Here the color dialogues in pairs between the outside and the inside without losing its autonomy, allowing that free space to relate from the impulse that is the identification of the vibrations that shocks us in our most human part.

Being able to witness the development of this series of works tells us of an artist in constant search and experimentation who seeks the same kind of experience in those who observe his work. His work involves going from dissociation to integration, from the straight line to the curve, from white to black, from materiality to nothingness, presenting an alternative way of relating to the living.

The need to describe the image becomes a personal exercise in understanding what we are seeing and the immediate memory of the story we are telling ourselves. The object itself and the time of the aesthetic experience are the truly important thing in encouraging us to be present as spectators and to question ourselves about the “reality/illusion” of the image. It will be in this moment of going inside the works, that it becomes possible to think and imagine alternative modes of practices, as well as aesthetic and ethical experiences.

 

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