Characterized by a language of reduced forms and shapes defined by solid fields of color, the work of Antonio Ballester Moreno explores the human relationship with the image and the roots of pictorial representation at large. Making the conceptualization of schematic images, a graphic structure that portrays our conceptual categorization and perceptual constancies of the world, the point of departure of his work, Ballester Moreno examines the nature of human perception and the way we understand and construct, through images, the world we live in.
Verde, gris, amarillo, yute y rojo is part of a recent series of paintings, for which a strong emphasis on the subject of horizontality is characteristic. Horizontality and landscape functions as a concept, suggestive of the image’s continuation beyond its surface, merging the painting with life beyond the canvas. Despite the actual verticality of the work, the theme of horizontality here reflects in its subject and the system of display, where despite its undyeable autonomy, the work is part of a greater universe (of other works). Universal and permanent forms such as lines and horizontal color fields depict images of light and shadow, day and night. The interchangeability of these forms associates the work with the passing of time, also emphasized by the title of the work. Painted on untreated, raw jute with layers of liquid paint, a process reminiscent of dyeing clothes, the porous nature of the canvas, rich texture, and strong material presence appropriates the basic from the cycle of life, taking us back to the once familiar, to the universal, to what we all share.