LIBRO - CATÁLOGO HAITZ DE DIEGO

21 THE VISION - Haitz de Diego Devoted to the resources offered by chiaroscuro, unavailable to the majority, he skilfully works with the delicate gradation of tones to display what he is trying to express, something that he does pic- torially with ease and success. It’s no surprise, therefore, that his works are almost never limited to showing a reality; they seek to cause a com - motion, and they certainly succeed in doing so. I do not want to overemphasise colour, which has a monumental strength in much of Haitz’s work. This strength also lies in the lack of colour, which is paradoxical. Colour is a medium that has a direct influence on the soul (...) and the harmony of col - ours must be based solely on the principle of ap- propriate contact with the human soul, as Vassily Kandinsky rightly asserted ( On the Spiritual in Art ). In many of his canvasses it is easy to see that the artist does not stick to forms, because to do so would imply delimiting spaces. His compositions, therefore —or a large part of them— show a deli- cate degree of formal imprecision that gives them volatility and an interesting abstract touch that of- ten resounds and emerges to claim and monop- olise space, even attempting to displace the form itself. Even so, the choice of form in the image is ingenious and astute; a challenge to overshadow it. Usually, the spectator, before the work, con- sciously perceives the most physical part of the artistic representation; curiously, it is their sub - conscious that receives the greatest psychologi- cal impact, although for this it is essential to have the necessary predisposition to experience such a degree of transference between the work and its contemplator. This is one of the main reasons why I always in- sist on the importance of “looking slowly”, a rare skill that is acquired and without which it is difficult to “see”, to understand —but above all to grasp— the potential of a work of art, whatever it may be. Let alone feel it. Haitz idealises each object he represents, free- ing it from all external noise and showing it in all its nakedness within a composition to which he pays obeisance and with which he merges to ex- press something profound through an enigmatic, almost sibylline, and unfailingly contemporary ar- tistic language. Inner restlessness, something inherent to every self-respecting artist, together with a powerful in- tuition, allows him to create complex scenes, al- though this is not always evident, where different