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DISCRETE CONTINUOS
installation view of ‘‘DISCRETE CONTINUOS’’, solo exhibition for TIST, curated by Yulia Tikhomirova Painting calibration No. V9, V8 and V4, 2020, oil on canvas, 30x24 cm Painting calibration No. V7, 2020, oil on canvas and on canvas with industrial preparation, (2x) 30 x 24 cm (Private Collection) Painting calibration No. V-C3 2, 2021, oil on canvas, 70x100 cm (installed above color samples for the exhibition) Colors distributed by grids. Forced to occupy one’s own cell. Discrete samples, distilled from any contamination through proportional, precise and reproducible order. Neutral in their separation. The most passionate element of painting, reduced to a rigorous and essential sequence. What about the color itself, does it have a sense?
The colors are indifferent to our expectations. Their task is certainly not to seduce us or to transport us into an imaginary dimension beyond the painting. On the contrary, they keep us well anchored to the canvas, to its surface. The only visual plane is pure color. Beyond there is only the frame and the wall. Whatever happens in Schmid-Téllez’s painting happens in the thin layer of color. Here his very indifference becomes a sort of perfection and potency, the discrete parts come together, merge, creating organic forms, vaguely vegetal, reconstructing a continuity. The forms suffer a dynamic pressure - a rhythmic imposed by the artist. The forces of attraction and repulsion generate a movement within the painting: a static movement, therefore even more irrepressible. The rhythm of color. by Yulia Tikhomirova
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Painting calibration No. V5 and V6
2020, oil on canvas, 30x24 cm Painting calibration No. V2 2020, oil on canvas, 35x40 cm Painting calibration No. V1 2020, oil on canvas, 50x35 cm Painting calibration No. V2 2019, oil on canvas, 35x59 cm Painting calibration No. V1 2019, oil on canvas, 30x70 cm Painting calibration No. V10 2020, oil on paper, 100x70 cm This project consists of a series of works in which the color and level of priming are rationally determined. In this way, the pictorial work becomes repertory material: the sample necessary for a conscious use of pictorial effects. An operative coldness that wants to bring back the attention and increase the possibilities towards the form and above all the color.
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The painting is divided into 8 cells containing a vegetable shape each, in a monochrome background. These forms are the result of a pictorial action obtained through the combination of 3 colors. From left to right - from top to bottom, these ''sets'' of three colors are ordered according to a hierarchy of brightness calculated on the basis of 8 main colors. That is: 8 main colors, whose brightness has been calculated with a colorimeter, have been arranged alphanumerically from the brightest to the darkest (A, B, C, etc..), and the ''sets'' of colors follow this hierarchy also in its permutations and in this work in particular: from left to right - from top to bottom. So, at the top left A-B-C and, in this case, at the bottom right B-G-F. In addition, to make the whole work harmonious despite the big jump in brightness, the background color for each cell is the result of the three colors used for the vegetable shapes, mixed in a fair proportion, i.g.: 1A-1B-1C is the proportion of colors used for the bottom of the ''set'' A-B-C, and so on.
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