2021Series of paintings with variable dimensions
Acrylic on canvas
Imagine working in an office: the desk where you place your papers, tools, and materials functions as RAM. The larger the desk, the more you can handle at once. However, when you finish working, the desk is cleared and left empty. Similarly, when a digital device is turned off, everything stored in the RAM disappears.
In my case, that personal "workspace" was filled with form, color, and gesture —elements accumulated throughout my years of training in Fine Arts—. In approaching this series, I clear that desk, emptying it through drawing, which is then transcribed onto the canvas. This process, echoing the way machines manage memory, acts as an exorcising ritual aimed at unlearning what has been learned, erasing in order to engage with artistic practice from a different standpoint. In RAM Paintings, the act of clearing takes precedence over the final image, which becomes a residue of that operation. As Deleuze stated in his essay Painting: The Concept of Diagram, we never paint what we want; rather, we rid ourselves of all the clichés we carry, filling the pictorial surface with our visual history.
The pastel colors, reminiscent of the iPhones I handled daily during my job at the Apple Store, blend with flat, defined areas that reference the Corporate Memphis graphic style and the superflat aesthetic, both ubiquitous in Silicon Valley’s design language. These paintings are, therefore, a dialogue between the human, the digital, and the aesthetics of our technological era, functioning as a memory-clearing process and an act of unlearning.