LIBRO - CATÁLOGO HAITZ DE DIEGO

THE VISION - Haitz de Diego 22 members, like extras, orbit around a central ele- ment that is thus poetised and wrapped in veils that protect the original form like guards, turning it into a kind of distillate, which is nothing more than the essence of the original message. It is in the artist’s nature to focus his attention on his own pressing inner need, on his spiritual hun- ger. This is one of the essential and most capti- vating points in Haitz’s work: his vision hints at the abstract component of the represented form, and that component harbours, in its own ambigui- ty, all the epistolary purity of the narrative. The form itself is a clue that gives a glimpse of the trail to follow, to the point that, once it has been marked, the form itself ceases to be relevant and becomes an anecdote. It is then that the revela- tion takes place and the work of art —totally na- ked— is shown and penetrates the spectator in all its splendour, giving rise to an epiphany. This is what deciphering a work of art consists of, even if only partially. A gradual process in which the spectator gradually enters into harmony with the representation until all hint of perceptual friction disappears and both —spectator and work— en- ter into something akin to a “spiritual resonance”. By this I mean that the object visualised globally, i.e. both in its form and in its abstract licences, emits certain vibrations that are never quite the same. Herein lies a large part of the value of art. One part is revealed, while another, perhaps, still remains veiled. And yet the link is possible. Re- sidual mystery is an intrinsic quality, though not always manifest. Without enigma, there is a dan- ger of falling into the most resounding of trivialisa- tions. The light goes out. This is something that is perfectly illustrated in Haitz’s work. The composition is bold because it not only allows, but also invites a certain elasticity in terms of its interpretation. With a clear predom- inance of form, the arrangement and disposition of each element, whether corporeal or abstract, each painting, within its intention, offers interpre - tative alternatives, although all of them maintain a consonance with the inner feeling from which they were forged; an inescapable link. Haitz represents what he knows, what is his own, familiar, akin to him. His work uses a language in keeping with his time, but codified. He transcends space and time; he incorporates a universal and poetic language that he has marked with fire and that greatly singularises each of his canvases,