Sensory Totems – man in painting
SENSORY TOTEMS man in painting
The man in Vidal Toreyo’s painting exists in the form of a pretext. The figures are definitely outlined, obvious. Their anonymity is their trait, we won’t see faces in his pictures. The whole figure is more important. In Toreyo’s painting, the humman becomes a totem, a symbol, a sculpture. He stands out from the background. He exists as if outside the picture.
In fact, everything is painted like an unspecified totem. The human body in Toreyo’s painting exists as an anonymous object, an anonymous figuration. The human figure has been reduced to signaling and conventional elements. It is not a man but his shadow that exists in the painting. Simplified, flattened, truncated.
Human in Toreyo’s painting – anonymous figuration.
The entire story of a man in Vidal’s paintings is told in a private, even intimate way. Therefore, the general term anonymous figuration fits this series of works by Toreyo. It seems especially relevant in the SENSORY TOTEMS series where a symbol is integrated with another symbol. One painting symbol is intertwined with another. Metaphor reigns. Thanks to this, each image gains a large symbolic load.
Man in lyrical painting is omnipresent. He does not exist in reality. He is an element of mystery because mystery is essential in lyrical abstraction. The artist tries to penetrate the hidden secrets of the world with his painting. Mystery is to him what energy is. This is what stimulates the creativity of Toreyo. Vidal’s painting makes us realize that human body is actually always in painting, he is inseparable from it. The artist builds his image so that the recipient can react emotionally.
In Toreyo’s artwork, abstract forms symbolize a complete departure from representational painting. We see the free assimilation of various graphic elements or a complete deformation of known forms. We have the feeling of denial, a shift in values and a shift towards some new theme. The artist presents an abstract topic and develops it freely.