The Nine Wheels
The images of the wheels function as a metaphor representative of the vital necessity and the impulse that any artist feels to create. They represent the movement, the desire to go somewhere simultaneously taking or transporting the spectator. The wheels represent an interrogation about the nature of art, the search for the progress or an evolution. Like the wheels of transport on Earth take us to different places, so too can the interrogation about the nature of art lead us to its different areas or diverse forms. New discoveries are constantly being made and although new currents have emerged, they nonetheless concurrently revert to the past. The original shape of the wheel-roundness- has not changed in form since its invention. However, over time, the materials employed for its fabrication have changed. Likewise, mediums utilized in creating art have also changed. But in my eyes, art’s original function, i.e. to communicate– has continued to date.
The wheel coverings depicted in these nine canvases represent the image destined for the retina in art. The surfaces, I mean what the expectator visualized, of the diverse currents which followed resulted in the visual aspect of art.
The conception of this work awoke in me a great curiosity for the bicycle wheel (ready made) of Marcel Duchamp. I believe my work has a certain affinity with the work of Duchamp, although not derived from his. In the words of author Octavio Paz, “Duchamp was a painter of ideas”. Duchamp utilized the object as a metaphor, or rather his reflection upon the object as a meditation of itself. Each of his works represents a diversity of significations or perspectives.
For the first nine canvases I have chosen wheel covers, which in my point of view could be associated with a predetermined artistic current. My intention has not been to simply make an enumeration of these diverse currents throughout the history of art. I wanted it also to be a painting. Thus, I decided not to use only the wheel covers and I have also limited this initial composition to nine canvases, arranged in one frame of three by three.
The following paragraph appeared in The Castle of Purity, a book that Octavio Paz wrote about Macel Duchamp’s “The Large Glass”. “The number nine has an immense prestige. Nine is three times three, and three is the number in which, according to Dumezil, the vision indo-europea of the world is concentrated. Nothing more original that Duchamp added one more bachelor to Ero’s Matrix, originally comprised of eight’.