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SaveBreath of life
| Year of creation | 2023 |
|---|---|
| Dimensions | 95 W × 128 H × 6 D cm |
| Type of art | painting |
| Style | figurative |
| Genre | landscape |
| Materials | mixed method, wood |
| Type of packaging | wooden box |
Description of the Artwork “Breath of life”
This work, made in mixed media on textured MDF, is a way to strengthen life. In it, on a golden background, which reflects the desire for perfection and purity that as human beings we can never achieve, a mining mask from the middle of the century is represented, which comes to symbolize the survival for which we are all fighting in these times, since, like the miners, we are all fighters in this turbulent time. The costume, with its figuration of death, is at the same time an appeal to cling to life, both for the pinkish, almost red color that symbolizes the passion and love that move us, and for the flowers that adorn it, always a symbol of life and evolution. The smoke is staged in its mystical aspect, as a purification of the souls of the deceased, while the drops and puddles symbolize a renewal of nature, a cleansing both physically and spiritually.
Artwork in the interior
José Luis Montes, Mexico
Concern for nature and the space we inhabit has been a constant on a personal level and as such has been reflected in many of my works over time. I am currently focusing my work on women; the woman as a symbol of strength and tenacity and also as a guardian and connoisseur of the cycles of nature and I am painting her along with floral and animal elements that show her coexisting with nature. I use this, on the one hand, to draw attention to the fact that there is less and less nature to interact with, and on the other hand, as a reminder that we have to listen to the rest of the beings in nature, because we are not independent. from it and we cannot sustain ourselves outside of it, we need to understand that we are one and the same and that is what I intend to convey with my work, that people stop a little to think about how we are destroying the habitat of the macaws or how we are taking our diet towards the absurd, for example. I also like to use everyday elements to form and assemble the work as an allegory, guiding the observer into the interior of the painting, so that from there they themselves can discover their interpretation or can start a conversation with the work.