The mysterious power of objects
"The universe is not dead matter to which organic life is sometimes added, but rather an enormous organism, a something in evolution."
Jane Bennett, Vibrant Matter, a political ecology of things

Since ancient times, the universe seems to present itself as an inexhaustible space, as an infinite evidence of our quest for the sacred or in connection with accessing knowledge. That need to perceive the world and its spheres is what we find in the work of Máximo González Devoto, who through digital language generates a set of significant sensitivity. The spheres themselves constitute unique planes, from planets to vanishing points, ultrasensory habitats, streams of creation that ultimately operate in a singular landscape. This landscape is characterized by austere and exact lines, projected amidst the ambiguity of the inhospitable and resilience in the face of the survival of being's condition. Faced with the contemplative state induced by the work, it is impossible not to think of the character that humanity has attributed to the spheres. The ancient Greeks already created theories about the spheres, where planets and natural satellites constellated in a state of harmony dictated by time and sound, ultimately by music. It is not strange to associate these concepts with the work of an artist who has composed music. This line of work, spanning more than two decades, has been gestating universes where the spheres were exposed in prominent 3D leaps, with extremely demanding craftsmanship, finding in the language of digital art an accurate exponent of what these universes are. These are works in which the curve is polished by the artist to take it further, to go towards the hidden face of things. There are messages in his paintings that guide us towards a possible future. We witness a sort of suspension of vital events, yet, in front of them, we know that beneath our feet the earth is spinning and we with it. We also know that harmony arises from time and a sacred, mathematical reason and therefore is susceptible to abstraction. It is there where geometry and its spatial deployment confront us with our ability to represent the forces that operate in everyday objects, and even those that escape our limits. These works have in their making the double characteristic: on the one hand, they pose a journey towards the intimate and subjective, and on the other, they remind us of everything that is outside our environment, everything that exceeds us and leads us to coexist with uncertainty, and with the hope that encloses the mysterious power of objects.

Jacqueline Lacasa

Curator