2006 — 2013
rice paper, Japanese ink
2013 Galerie Zdenek Sklenar / Prague / Czech Republic
An ink painting holds a specific position in Díaz’s known work. We are not used to perceive Díaz as an artist using the range of classical media. In particular with regard to his known creative precondition declared in the most expressive manner in so-called Manifesto Negro related to the project Outside Itself at La Biennale di Venezia 2011: ‟The art emerges without hands touching it”. Díaz speaks about his paintings as about mapping the space of thinking, opportunity to experience the classification and formative systemisation of thoughts in the never-ending chaos of the information world. The experience of direct relation between the movement of a hand and creation of artwork, which is atypical for Díaz, serves as means of narrowing the broad spectrum of intentions and motivation that can continue further in various directions. In the case of ink painting, the first and the only option is also the last option. The material – rice paper – that Díaz uses for his paintings does not enable any modifications of the finished painting. Thus, the ink paintings are directly connected to projects Adhesion/Survival Manual or Pulsar. On the basis of target data monitoring, they gradually generate the figure according to the so-called Lindenmayer’s ‟L” systems.