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Eduardo Morales

From I to it

It has been repeated many times that the act of artistic creation is a risk (walking a “tightrope” someone said). But it is also an anguish and a certain enlightenment; It has a lot of research and calculation, expectations, fabulation. But such a commonplace often causes us to forget the heroism that, for the same reason and so often, every act of artistic creation entails. An act, moreover, that also requires integrity, daring, negativity, trauma, discipline... to produce “a minimal expressive structure,” as Morawski says when he defines the work of art.

Personally, the work of art matters more to me as a conflict than as a risk (if the conflict itself no longer implies a risk in its turn).


The conflictual -not the conflictive- would be, in my opinion, one of the main critical-theoretical assumptions to take into account when considering the work of the plastic artist and architect, Fermín Gutiérrez. Among other assumptions to consider in said analysis, there would be facticity, linguisticity, dialogicity, narrative, its locus and some other considerations.

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