Las chapuzas en Alcalá de Xivert de la administración Valenciana en 2014 / Botched jobs by Valencian administration in Alcalá de Xivert in 2014

Hay algo verdaderamente importante para mí que no he conseguido este año. Deberé seguir luchando el que viene, y es evitar que corten parte de esta pinada donde Iberdrola  pretende colocar una torre de luz. El proyecto no tiene ningún sentido ya que donde se supone que tiene que llegar la electricidad es un polígono industrial desierto donde se invirtió mucho dinero, hace  ya seis años, aquí la foto, y con muy pocas perspectivas de llegar a funcionar, no se ha vendido ni una sola parcela, pues se encuentra al lado del cementerio opino yo.

Si fuera necesario hacerlo, la finca de al lado se encuentra vacía y abandonada. No tiene sentido la desviación hacia los pinos, que por cierto son míos.

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There is something truly important I have not been able to achieve this year. Next year my fight against Iberdrola will continue: I will stop them from cutting down part of the pine trees where they intend to place an electricity pylon. The project makes no sense whatsoever. The plan is to place the pylon there in order to have an electricity supply reach a deserted industrial estate. A lot of money was invested in it, already 6 years ago, however not one single plot of land has been sold, I believe due to its closeness to the cemetery.

If it were truly necessary to have the pylon there, there is a plot of land right next to the pine trees which is totally barren and abandoned. The deviation towards the trees makes no sense at all.

 

 

 

 

 

 

Logros / Achievements 2014

 

Esta balsa ilegal en activo ha estado siempre sujeta a una licencia ambiental que nunca tuvo, aunque ha seguido funcionando sin ella durante años. Por primera vez, el Ayuntamiento de Alcalá de Xivert por fin ha escuchado a la Comisión de Análisis Ambiental Integrado de la Conselleria Valenciana, a pesar de haberla mencionado yo en mis alegaciones hace tiempo, y ha requerido a lo largo del año 2014 a 'Aceites Chivert' una documentación actualizada, que jamás  presentará, el impresentable del aceitero. ¿Por qué? Pues porque le piden el REDISEÑO de la balsa ilegal maloliente, que nadie le pidió antes. ¿Y por qué no lo va a hacer el Sr. Cherta - el propietario de la instalación podrida? Pues porque a pesar de no tener licencia, ganó un juicio que yo perdí. ¿Sabéis que alegó la juez Laura Alabau Martí? Pues "que no constaba que la actividad produjese molestias u olores, pues la actividad sujeta a múltiples controles obtuvo su correspondiente declaración de impacto ambiental".

¿En qué quedamos, la tiene, la tuvo, la licencia ambiental, o no la tenía y sigue sin tenerla? Además añadía la Sra. juez en su sentencia de Marzo del 2011 "hay que producir aceite y en algún sitio hay que poner la balsa, estadio de alpechines putrefacto".

Aunque contamine.

Aún espero la sentencia del tribunal de mi recurso que fue admitido a trámite hace tres años y medio.

Para mí este es un claro caso de prevaricación por parte del Ayuntamiento de Alcalá de Xivert, se está favoreciendo a un mal vecino en detrimento y asfixia del resto del pueblo mudo.

La buena noticia es que ya no echa alpechines a la balsa, y aunque ilegalmente los echa a la finca de al lado, la Comisión de Análisis Ambiental Integrado está haciendo bien su trabajo tomando cartas en el asunto.

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This activity has always been conditioned upon an environmental permit which it never had, and in spite of this has been operating for the last 14 years. The Commission for Integrated Environmental Analysis has finally spoken (it is the first time I hear city hall refer to them), after having mentioned them in my original allegations. The city administration has taken one entire year requesting a documentation from Aceites Chivert which they will never, ever produce. Why? Well, because they are asking them to redesign the illegal, ill-smelling deposit, something that no one has ever asked them to do before. And why will Mr. Cherta - the owner of this rotten establishment - not do it? Because City Hall won a lawsuit which I lost. Do you know what judge Laura Alabau Martí said? “There is no evidence that the activity is molesting or causing bad odours, as it has been submitted to previous controls”. I know that this is not the case. And, in addition, they received a positive environmental impact declaration!

What are we left with? Does he have, did he have it, that environmental permit, or did he never have it and continues without it? “It is logical that an activity like this emits smells, and since it is located on rural land, oil must be produced” is the ending of the sentence issued in March 2011.

Ah, and what? Where would he put this deposit full of oil chemicals the size of a football field which does not molest anybody? I am still waiting for the appeal sentence by the court that admitted it 3 ½ years ago…

For me, this is a clear case of legal abuse, a bad neighbor is being given preference over the rest of the village which suffers in silence.

The good news is that he no longer empties the industrial remains of his production into the deposit, he now dumps them on a neighbouring field. And most of all, the integrated Environmental Analysis Commission of Valencia State Administration is doing well and taking charge of the situation.

Now, that I remember.( Paco Lorca)

It called my attention that when this exhibition was being planned, there must have been no need to give it a title, and maybe that was because it circles around the painter, without any more baggage other than her name. For sure, when you arrive at the Orfila Gallery, you discover that the various works do not show this repetitive uniformity in order to provide a homogeneous aspect which one so often finds at art exhibitions. In this case, each work by Maria Aparici, each canvas is a state of emotion, an explosion of sentiments which go from the exhaustion of a hot day to melancholy of another grey and rainy one, passing relaxation and observation, up to, like a photographer friend of mine used to say “the let’s go criticize”. Writes Aparici: “ I think that art has to reduce the distance between artist and spectator, in the hope that the image remain in the latter’s memory forever”, and this seems to be the title for this exhibition, she herself, her state of mind and the intent to perpetuate each one of her feelings in the spectator’s mind.

 

Each painting seems a moment, and according to the author, “the combination of my mental state and my personal observations is what I translate into my work”. Her work is vigorous, even explosive at times, with the force that is expressed by a wide brush stroke, a decisive and profound stroke and a composition in which the protagonist, a person or an animal, almost always a dog, travel to the front without forgetting a secondary personage who seems to be observing the scene from a second level. The composition reminds one of German expressionism, I hear someone say “I am reminded of Kirchner”, even if it does not have the tortuous and bitter expression of his personalities; in others, the intensity of the work moves toward abstraction and the protagonist becomes diffuse like a thought between shadows, lights and wishes that are difficult to express if not by way of intuition because each painting is numbered and I can hardly read the titles in a separate note. And I like it this way, because I like being guided by the spectator’s intuition.

 

Each painting is a story, I continue to think, and whilst I think about that, a new visitor enters the gallery. She is intrigued by the smell of the room: it smells of canvas, paint and oils. It is like entering the artist’s studio, and in the room’s silence – the music finished a while ago- the visitor is only accompanied by a soft smell of oil and dissolvent, like certifying the authenticity of the work: “Oil has the virtue of enforcing itself, to extract color with the passage of time. The painter who works the light cannot paint with any other element that is not oil, the vermillion, the cadmium..” and this is what seems to happen with these two very elegant women – Two very Elegant Ladies- which hangs in front of the visitor.

 

I move around the room like an orphan, for not having met the painter in person, move from painting to painting, from story to story, reading the catalogue, trying to find something that would take me to a specific moment, the original thought: “in only one single day, we suffer different appearances, severe ones, sad ones, warm and violent ones, passionate ones..”

 

And following the rhythm of these recent days, in which I almost miss some exhibitions for arriving late and the time does not leave me space to reflect, to absorb the works and digest them, I dare write only about my first impression, someone else’s spoken thought or my own, in order to retain, like I read at the beginning, the images so that they may remain in my memory and to be able to transmit them with the extraordinary force, the violent and passionate gesture which seems to rest in every one of these canvases.

 

 

 

Working on the English version

http://aqmapacolorca.blogspot.com.es/2014/11/maria-aparici.html?spref=fb

The Birth.

 

My women are not misogynistic like Picasso´s, decorative as with Matisse’s, or imbued with a sense of decadence like Kirchner’s. My women are remarkable for their truthfulness, unique for their sense of happiness, and their thoughtfulness is totally independent from older and newly established forces.

 They are not even allegorical nor symbolic,  and they have very  positive attitudes without worrying over deeper meanings. They are courageous enough as for breaking free from accepted conventions.

My women are me.

A Person to Person Communication

The magic of life expressionism happens when the spectator tries to decipher the puzzle of the painting. It is curious to listen to their comments, because sometimes they see  things different from what I painted, and which I didn´t see. In this way a complicity is created between the artist and the viewer .

There are imposing paintings , those which envelop  you and fun paintings, but each of them breathes life.

La Complicidad entre el Espectador y el Artista.

La magia del expresionismo en vivo ocurre cuando el espectador trata de descifrar el puzzle del cuadro. Es interesante escuchar sus comentarios , pues a veces ellos ven cosas distintas a las que yo he pintado y que yo no he visto. Así se crea una complicidad entre los dos.

Hay cuadros que imponen , hay otro que te envuelven y otros divertidos, lo cierto es que de cada uno de ellos emana vida.

 

When Walls Murmur.

At Orfila Gallery Madrid

 

 

 

NAUGHTY WOMAN.

When the art Market permanently shuts its doors to your work, you have to be very courageous to fight against that and open the slot which is yours. Two art lovers were applauding my work last night, emphasizing equally its energy and the great sensibility which emanates from it. I have often said that an artist expresses him/ herself transmitting something, independently of the medium. For me, painting is one more medium, but also photography, video, a performance or an installation.

 

If an author/philosopher tells you that “your painting is much better than Oscar Kokoschka” whom I admire, your self-esteem rises, if they comment that they have travelled inside the painting and lived a magic experience, it is a joy to know that you were able to connect with the viewer, transmitting to him this energy, yours, caught in the painting, so as not ever to forget it. If in addition, they pay you a compliment by telling you that in reality you are much more beautiful than in photographs (where I usually look awful), well, welcome the compliment. My thanks to the Orfila Gallery for giving me the opportunity to show my paintings in Madrid, and thank you to the collectors who were the first to acquire one of them, the “Naughty Woman of the Future”.

 

Let’s hope that this modern “woman” who has already found her place, will also find a place in the impossible ranking of art.

 

 

Cuando el mercado del arte cierra sus puertas a tu obra permanentemente,  hay que ser muy valiente para luchar contra él y conseguir  el hueco que te corresponde.

Dos amantes de la pintura,  alabaron anoche la mía,  resaltando  por partes iguales tanto  su  fuerza  como la gran sensibilidad que emana de ella . A menudo  he dicho  que independientemente del medio , un artista se expresa transmitiendo . Para mí, la  pintura es un medio más , pero también lo es la fotografía, el video,  una performance o una instalación.

Si un filosofo escritor te regala esta frase  "tu pintura es mucho mejor que la de Oscar Kokoschka" ; al que admiro, te sube la autoestima,  si comentan que han viajado al  interior del cuadro viviendo una experiencia mágica , te alegra  saber que has  conectado  con el espectador transmitiéndole   esa fuerza atrapada, la tuya, en el cuadro,  como para no olvidarlo jamás.. Si además te  alagan diciendo que eres mucho más guapa al natural (en foto salgo fatal) bienvenido sea el piropo.

Gracias a la Galería Orfila  por darme la oportunidad de mostrar mis cuadros en Madrid, y gracias a los coleccionistas que se quedaron  con "Naughty Woman of the Future".

Esperemos que esta moderna  " Woman "que  ya ha encontrado un hogar, también logre su puesto en el ranking imposible  del arte.

 

FOR IMMEDIATE RELEASE

            EXHIBITION OF WORK BY MARIA APARICI AT THE ORFILA GALLERY FROM NOV. 14 TO DEC. 5, 2014

 

If one characteristic of expressionism is the solidarity between the artist and her motive, this third exhibition by Maria Aparici at the Orfila Gallery (earlier ones took place in 2004 and 2006), highlights her evolution within this language, showing a progressive disfiguration, without falling into abstraction, short-circuits data and references with the intention to make expression prevail over information. Maybe exactly because the latter is not able to get us out of our impassiveness –an operation of rationalizing which who knows whether we still own it- the “deletions” of women or animals in her paintings, her dances, appeal to this encounter with the other person, as solidarity and as a protest, by way of our capacity of empathy as the ultimate sign of tenderness.

 

Maria Aparici studies at the New School for Social Research in New York (1988-1992), graduates in interior architecture, and at the Faculty of Fine Arts of the Complutense University in Madrid, where she obtains a Master’s degree in painting (1998). She has developed an ample exhibition activity in various countries, where since 1998, she has shown her work at individual exhibitions in Switzerland, Spain (at the galleries of Victoria Hidalgo, Ofelia Aparici and Orfila in Madrid, Agurcho Iruretagoyena in Pamplona and AKKA in Valencia) and The United States, whilst also participating in group exhibitions at various New York galleries between 2000 and 2003, as well as in recent years at others on an international level: Saatchi Gallery London (Showdown winner 2009 and 2013), “Art in Mind”, The Brick Lane Gallery London (2014), “Art & Integration”, Palacio Gipsoteca Libero Andreotti, Pescia (Italy) in 2010, “Apocalypse Now”, Mazia Frozen Gallery Berlin (2011), Colorida gallery Lisbon (2011), The Lloyd Gill Gallery of Weston-Super-Mare (UK) in 2012.

 

She will personally inaugurate her exhibition on Friday, Nov. 14^th, 2014, at 19:30.

 

                         GALERÍA DE ARTE ORFILA. CALLE ORFILA, 3. 28010  MADRID

  91 3198864 – galarteorfila@hotmail.com – www.galeriaorfila.com - Facebook – Twitter

 

 

Exhibition ay Orfila Gallery Madrid S-Pain

If you want to see my work, this is where it will be shown.

Before , Now and in Between.

From now On.

http://www.mutantspace.com/maria-aparici-paintings-highly-emotive-pictures/

Who I am and why I do what I do.

Cincinnati 2001

Is Art Fashion?

This is what the critics said about me.

Un blog diario , que escribo de vez en cuando.

Después de casarme por segundo vez con un Sr alemán me fui a parir  a New York de lo mas sofisticated a lo vivo y sin epidural; se llevaba.

BBAA de vuelta a la prehistoria hispánica  fue un suplicio comparado con Columbia y New School mis universidades  Neoyorquinas.

La estupidez de los profesores ; artistas frustrados la mayoría de ellos me amargaron los  cinco  largos años de carrera. Pero yo quería aprender a pintar, y lo he conseguido.

Vaticine miseria   y denuncie el contraste de continentes recién llegada de las Américas civilizadas ,  lo que no entiendo es cómo los españoles las descubrieron, atajo de meapilas  descerebrados(Toro de la Vega).

El panorama que encontré  entonces no podía  ser más desolador, y no me he equivocado en nada sigue igual , o peor.

 Hoy el resultado de la gestión de nuestros políticos ;un fraude de corruptos , usureros, y ladrones nos ha llevado a el  vencimiento de 155.000 millones de deuda pública para 2015 .

Al contrario de lo que se debería de hacer, se hace la vista gorda con el deterioro, la tolerancia con la corrupción, y la benevolencia con el ladrón.

Así como El mass el Cuquet masia privada del alcalde de Alcala de Xivert , Castellon es el cortijo  de Moliner y Bataller,es  España entera  la finca privada de  Cañete y los taurinos del poder .

Se improvisa la trola, no se toma en serio  la verdad ,y el mayor imbécil es el más valorado por los sinverguenzas ;claro.

 España tal  que hoy  es una panda de políticos horteras prepotentes de regalos de lujo. En cuanto pueden trincan y luego balbucean en explicaciones , en moreno.   Un país ingobernable  de muertos de hambre. Con chanchullos, favores y  gestiones de culo.

Bankia y   sus tarjetas del placer   en manos de arrogantes del  orgullo (taurino) hispano,  y gustos de Hermes, Loewe, y Ritzes de lujo de horteras de la  gilipollez, mientras venden preferentes a pobres viejos jubilados. Deuda soberana ,bomba de relojería mientras tanto, e  inundados de créditos del banco central europeo.

Empeze mi peculiar carrera  en el desaguisado del mundo del arte que mucho tiene que ver con el de la politica, en el año 2000 cuando en España se construían aeropuertos sin aviones ,autopistas sin coches, y trenes rápidos a ningún sitio. Ah   y submarinos que no flotaban  por peso.

Y siempre las meteduras de  pata de los que gobiernan, políticos de altos vuelos que no asumen responsabilidades , porque Spain is different . si, pero de mierda.

Mientras A, López tardaba 20 años en pintar el retrato de una familia real , ya destartalada. Yo me he pintado  cuarenta.

Hasta a Saatchi le gusto mi obra. Quería ver más , ahora le invito en vivo a verla , si le gusto  entonces , seguro que ahora le encantara.

Expongo en Madrid la madurez de una artista sensata, pero sobre todo honesta..

 

 

A “daily” blog, which I write from time to time.

            After getting married for the second time to a German gentleman, I went to the       most sophisticated New York to give birth, all live and without epidural; it was           the fashion.

            Fine Arts, the return to Hispanic prehistory was a pain in comparison with          Columbia and the New School, my NY universities.

            The professors’ stupidity, mostly frustrated artists themselves, embittered my long        five year studies there. But I wanted to learn how to paint, and that is what I          achieved.

I predicted misery and denounced the contrast between continents, as a recent arrival from the civilized Americas. What I don’t understand is how the Spanish, herd of brainless (meapilas)discovered them (see Toro de la Vega).  

The panorama I found then couldn’t have been more desperate, and I was not at all mistaken, everything is the same, or worse.

Today the result of our politicians’ work, a fraud of corrupted gangsters, loan sharks and thieves has got us into a situation where in 2015, Spain will have to cancel 155 bn. euros  of public debt.

Contrary to what should be done, the worsening of the situation, tolerance of corruption and benevolence with thieves, are simply ignored.

Just like “el mass el Cuquello”, the private fiefdom of the mayor of Alcalá de Xivert in Castellón is the farmhouse of Moliner y Bataller, the whole of Spain is the private fiefdom of Cañete and the chauvinists in power.

The lie is improvised, truth is not taken seriously and the biggest imbecile is most valued by the rest of the scoundrels, of course.

Today’s Spain is I gang of vulgar, arrogant politicians who love luxury gifts. When they can, they first get pissed and then stutter for explanations, well tanned. An ungovernable country of poor unfortunates. With fiddles and scams, favors and lousy work.

Bankia and its black credit cards in the hands of people full of arrogance of Hispanic (bullfighting) pride, and tastes of Hermès, Loewe, the luxurious Ritz’s of vulgar morons, whilst they sell preference shares to poor old retirees. The national debt meanwhile, a true time bomb, and flooded with loans from the ECB.

I started my particular career in the chaotic world of art which has a lot to do with politics, in the year 2000 when in Spain we were building airports with no planes, highways with no cars and fast trains to nowhere. Ah, and submarines that didn’t float for overweight..

And always the errors by those who govern, high-flying politicians who don’t assume responsibility because “Spain is different”, yes, and of crap.

Whilst Antonio López took 20 years to paint the portrait of a royal family which has already fallen apart, I painted 40.

Even Mr. Saatchi liked my work, and wanted to see more. I now directly invite him to see it. If he liked it then, surely he will love it today.

I am showing in Madrid the maturity of a no-nonsense artist, but most of all, an honest one..

 

Una Maruja Anti Taurina

A Friki Anti-Bull-fighting

I am against bullfighting, against the Toro de la Vega, and against running the bulls in all their forms, and would like to reply to the enslaving letter sent by someone in favor of bullfighting, representing the union of fighting bull breeders and representatives of the most dedicated bull ranches, whose dictatorial and male chauvinist position is, at the least, highly questionable.

 

The right of free expression is constitutional including for Mr. Sánchez, and he exercised it as a listener who intervened in the TV program “Sálvame”. As a possible future president, by way of his and spontaneity, he has not only won the vote of millions of women who love animals like myself, but also myself who am more leaning towards the right.

 

I am a plastic artist, and I do not consider bullfighting an artistic activity, all to the contrary, I would downgrade it to the category of a show of bad taste. And I don’t even want to comment the barbarity of the “Toro de la Vega” which just makes me ashamed.

 

The great coherence of Mr. Sánchez, if he preserves it, will likely lead him to the Presidency of this forlorn country, governed by the sadists of the PP, who for convenience elevate private patrimony to a national good, an “Immaterial Cultural Good”???, for which it will never be humanly possible to become part of the Human Patrimony, even if they would like that. I hope Mr. Sánchez will drown patrimonies and traditions in hell, will cancel private meetings with local show chiefs and will continue to participate in TV shows to win over the public. He has the aplomb and if he continues this sincere, he will win me over as well. To spear a live animal is simply an act of salvages, even if it is about an animal bred for fighting. Spain needs sensibility, good taste, sincerity and most of all to become a modern country.

 

 

 

Carta al director del Mundo

Y a los criadores del toro de lidia del mundo mundial.

Una anti taurina, , anti Toro de la vega , y anti  Bous  en cualquiera de sus  modalidades contesta a  la carta avasalladora de un taurino de la Unión de criadores de Toros de Lidia, y  representantes de las ganaderías mas bravas del mundo mundial., cuya postura dictatorial y machista, como no podría ser de otra manera, es muy  discutible.

El derecho a la libertad de expresión, es constitucional  también para el Sr Sánchez,  lo ejerció  como oyente interviniendo en el programe de Sálvame. Como futuro presidente, no solo se ha   ganado por  su sinceridad y espontaneidad ,el  voto de dos millones de marujas  amantes de los animales como yo,  sino a mí misma ,más bien de derechas .

 Soy artista plástica , no considero la tauromaquia como actividad artística, todo lo contrario, lo rebajo a la categoría de  espectáculo de muy mal gusto,  de la barbarie del Toro de la vega,  rejoneo a lo bestia.  me avergüenzo.

La gran coherencia del Sr Sánchez le llevara, si sigue así a la presidencia de este país perdido ,   gobernado por sadomasoquistas del PP,  que elevan patrimonios por conveniencia a bien de  algo nacional , un¿ Bien Cultural Inmaterial?, que  humanamente jamás será Patrimonio de la Humanidad;  aunque les gustaría.

Espero que el Sr Sánchez  hunda patrimonios y tradiciones en los infiernos , cancele reuniones privadas con caciques del espectáculo , y siga yendo a los platos a ganarse al público , planta tiene..,  y si sigue así de sincero ,también  me tiene a mí, lancear a lo vivo a un animal por muy toro de lidia de la vega y de su tía que sea , es una salvajada. España necesita sensibilidad , buen gusto, belleza , honradez  y sobre todo modernidad, y si no prohíbe la  tauromaquia ha perdido mi respeto.

La Moda puede ser arte , pero el Arte nunca podrá ser Moda..

 La palabra moda viene del latín "modus"significa elección carácter transitorio.

Nos hemos vestido a la moda porque según J.C.Flügel el placer del hombre  por arreglarse y ornamentarse fue, ha sido y es un instinto innato  de rivalidad del" Yo" característico humano .

  El consumidor del arte lo  busca también  como acentuación de su  estatus social y distanciamiento individual, una novedad artística  es un buen motivo para presumir.

Pero el arte no  es ninguna prenda,  la bulimia artística  en permanente estado de ansiedad buscando tendencias originales,  nos ha llevado a la misma estética  del entumecido eclecticismo entremezclado de los 80, cuando ya los Cerdos de Porcelana de Jeff Koons hacían furor.

Los artistas somos diferentes , aunque este abierto a todo, sentimos, vemos , oímos  tocamos de forma diferente   . Nacemos con un sentimiento de expresión que en su origen es intuitivo y  que en un futuro será consciente y reflexivo, para crear más adelante un nuevo estilo donde se reflejen alegrías,  y tristezas  dentro del siempre  enfurecido mundo del arte  .

La historia, y  las inquietudes del momento tanto sociales como políticas evidentemente influyen en el artista reflexivo,  pero  la misma  fugacidad de estas ,  su  instante en el  tiempo de modas y tendencias  de espectáculo, hacen que el artista serio generalmente  introvertido huya de ellas

perdiendo interés despreciándolas.

Oscar Wilde decía que " el artista ha sido siempre una excepción exquisita".

  Su expresión artística es el vehículo de comunicación con los espectadores, el arte tiene que llegar  al observador y  compartir con el artista, a través  de la obra  , no  solo  su propia existencia o estado de ánimo  sino también verse  reflejado en él.

.

 Artista , obra y espectador  critico son fundamentales  para que una obra inventada por una  imaginación creadora perdure en el tiempo  como icono para la posteridad en el silencio de un  museo de genialidades  y no como un trapo pasado, olvidado en la algarabía  del tiempo espectáculo de una pasarela  pasada de moda.

  Fashion can be art but art can never be fashion.

The word "moda" comes from the Latin word modus, and an election of transitory character. We dress in fashion because, according to J.C.Fluegel, the human liking for dressing up and decorate oneself was, is and will be an innate rivalry instinct‎ of the characteristic human "I".

The consumer of art looks for it as an accentuation of his social status and individual distancing, an artistic novelty is a good reason to show off. 

But art is no piece of clothing, the artistic bulimia ‎in the permanent state of anxiety to search for original trends has brought us to the same aesthetics of the mixed up eclecticism of the 80s, when Jeff Koons' porcelain pigs were all the rage.

We are different and even if   artists are open to anything, we feel, see, hear and touch‎ differently. We are born with a sense of expression which in its origin is intuitive and later becomes conscious and reflexive, and will thereafter create a new style where its joys and sadness are reflected within the enfuriated art world. 

History and the social as well as political unrest of the moment evidently influence a thoughtful artist, but their same short-lived presence, their instant in the times of fashion and trends, of the show of the catwalk, make the serious one stay away from them, losing interest and being unappreciative of them. 

Oscar Wilde said that "the artist has always been an exquisite exception". His artistic expression is the communication vehicle with the spectators, art has to reach the observer and share with the artist, through his work, not only its own existence or state of mind but must also be reflected in him.

Artist, work and critical spectator ‎are fundamental for a work invented by the creative imagination of the artist to last through time, as an icon for posterity in the silence of a museum filled with genius and not as a past piece of cloth that flees from time in the.... of the catwalk show.