LIBRO - CATÁLOGO HAITZ DE DIEGO

Painting for emotion: INTERIOR SCENES If there is one stylistic technique in which Haitz excels, it is, in my opinion, that of chiaroscuro , an artistic technique based essentially on the crea- tion of great contrasts between the different ele - ments of a given composition by means of a mas- terly use —without abuse— of light and shadow. One of its stellar effects is that of highlighting a figure or fragment, which is thus illuminated by a beam of light that does not always appear to be present in the painting. The skill in the use of shadowed volumes in this way lends extraordi- nary drama to scenes that require it and whose message is spectacularly enhanced as a result. Although the technique dates from the 16th cen- tury, its application was at its height during the Baroque period. This art of creating light between shadows or shadows between lights continues to be one of the most powerful artistic techniques known and applied in many different artistic fields due to its great expressionistic capacity and the wide mod- ulation of tonalities that it allows when handled with skill and sensitivity. Frankly, it is not a re- source suitable for the mediocre. Contemplating an artwork using this technique in depth also requires a certain visual training; an immersive practice. Educating your vision to go beyond, to discover what is apparently hidden, is an exercise in sensitisation that opens up new COLLECTIONS: and wider fields of sensory perception to the spectator. The result is extraordinarily gratifying. Haitz’s interior scenes, his gradations of colour —not at all easy— submerged in a sea of mys- tery and obstinate gloom, are a poetic call to for- gotten, outdated, lost inner worlds, where even silence resounds. They suggest a certain scruti- ny through reliefs and hollows in order to notice details that would otherwise go unnoticed. And it is this subtle collection of “particularities” that turns each and every one of the canvases that make up this singular series into an access por- tal to that always imprecise dimension, where the intangible resides and where the spectator has no compasses or maps other than their own intu- ition. An incursion into the territory of sensitivity; into one’s own memory through the memory of others, creating questions in the confines of be - liefs, certainties, conscience and fatality, through objects that once formed part of everyday life. Communing —albeit with multiple licences— with a “lukewarm” symbolic realism, the artist’s strokes are impulsive, vehement; they suggest an aesthetic based essentially on the oneiric, but with strong roots in the lived, the felt, that which lingers in the mind and hurts in the soul. And it is in these specific demarcations of feeling where the abstract seems to intermingle with the figu - rative following a whimsical ceremonial court- ship, above all in what affects the colour and its LA HISTORIA SUBYACENTE «Homenaje a la mujer y a su sufrimiento durante siglos; deshumanizada por la sociedad, sumida en la oscuridad. Ha derramado lágrimas de sangre a lo largo de la historia. Un llanto silencioso».