Miembro Artístico del Sistema Nacional de Creadores de Arte (Fonca y Conaculta).
“I have always been fascinated by the idea of time and how past, present and future overlap and displace themselves in our lives...
The universe of my work is ample and varied, with two main lines: one, on canvas, is more intimate and classic, and the other, on newspapers, is more social and dynamic. But in both my interest is life, what has shaped me, and it’s that particular testimony of what I have observed from which I have created my aesthetic, through what is human in art and the conceptual in painting. I view “time” as a simultaneous line of past (memory), present (conscience) and future (imagination). The way we remember it, the action we accomplish with our intelligence and the projection and purpose of the setting we visualize in the displacements of our life."
"Creating art with newspapers, painting over them with oil, gives way to new occurrences over these information objects that I approach directly providing a new character to
the news, the event and its content.
The same dynamic of newspapers as information media is given as isolated events, however, they are
usually installments, a continuity and a succession that refer to more complex and extended events. Thus, day by day, as episodes of a series of “the lives of the world”, from the particular to the worldwide, stories are interwoven as an
ephemeral present that sustains itself on the past or inquiry in the created history, and that day by day assimilates the updates and unfolding of these fragmented events, unique or distorted by their translation, warning about the assumptions, the reactions and their consequences for the future.
Through which I’m leaving the permanence of my already ample aesthetic newspaper library."
Similar to Francesc Ruiz, Pauline Fondevila and Cisco Jiménez, the Mexican painter Salvador Díaz also utilizes the filter of that which remains personal as a reaction to the press landslide and the weight of the conventional media machinery. In his case, the strategy consists on using the support of different printed communication media to relate his automatic drawings and paintings with the articles that fill the newspaper pages on that specific date.
His work is accumulative and takes shape as a certain way of uncontainable reaction in which Salvador Díaz (Mexico, 1977) unleashes his visceral impulses before the pack of ads, the constant depiction of politicians and businessmen, and the mayhem of catastrophes, wars and conflicts around the world. On one hand, he has a very peculiar way of reading the newspapers (as he superimposes his reading as an iconic code of reality) and of reacting before these newspapers (because his drawings end up being an emotional register of his reactions, anger, reflections and impulses).
As automatic writing and an uncontainable need to overlap his presence over the media’s presence, the artist builds an ample and convoluted fresco where he mixes advertisement with information of very varied makeup, the vital register with his fears and ghosts, the collective imaginary generated by the insistence and ubiquity of these press images accompanied by the small and insignificant graph we use to personalize, customize and digest through a personal code everything that the media offers us as a daily menu.
