LIBRO - CATÁLOGO HAITZ DE DIEGO

THE VISION - Haitz de Diego 20 knowledge by pouring his experiences into it. He teaches us to see slowly, not just to look. All these experiences, often of a mystical, mys- terious, and profoundly revealing nature, speak of stories lived and repeated throughout life, and will continue to do so. It is true that we tread in the footsteps of our ancestors, and on our own, oth- ers will come to rest, because there are few roads left to walk, but they can all be told in a different way, from a different perspective. And that is what gives value to a work of art: its vision, its clairvoy- ance, the originality of the perspective. Art has long been dishonoured and wronged, but it has never ceased to be the highest and most audacious form of expression with which to make “illusionism” and show as something tangible the inexorable intangibility of the soul. And the most convulsive times are the best breeding grounds for the search for and immersion in the deep wa- ters of the ethereal, where the artist escapes from the insubstantial to quench his unquenchable in- ner thirst, which is the main reason for his rest- lessness and creative fecundity. In Haitz’s creative universe, spiritual darkness coexists in decadent and forgotten spaces, with flashes of light. This is his leitmotif. The darkening of the atmosphere, the abandonment of memo- ries, the objects —fortuitously or deliberately— forgotten around which life danced and which now fade away deafly. The artist resorts to the sombre to express melancholy, affliction or feel - ings devoured by mist. It is a monumental sym- bolic display endowed with its own musicality. Objects, when contemplated in this way, become “dematerialised” and transformed into harmonic sequences, heartbeats, visual impacts or senso- rial impressions capable of lasting on the retina and in the skin of the entrails over time. Images capable of being recalled over and over again, like those illusions to which many of us mortals resort when we seek a hint of relaxation in the face of a situation that seems tense or distressing. A tour through any of his paintings and collections shows us, at first glance, a careful but restrict - ed palette of colours which, as a kind of physi- cal preparation, predisposes the viewer: it invites their perception to transcend reality and transit through non-objective spaces, sometimes even in contradiction with everything known or seen; to defy reason to enter a context where sensory perception reigns; a kind of artistic “metaverse”.