Origin

Time is the great mystery of the existence that pushes us forward in search of a future that lives in the here and now, but which is tied to a “past” origin which, like twisting energy, pushes us into the future and which, nevertheless, retreats. The future is the past in a loop. Humans find themselves while evolving, and it is the artist who, in their work, lets us gaze upon ourselves in this temporality of ephemerality. The artist is tempted to eternalize in their works that which the time leaves behind like dust in the past. The artist is rebellious with their evolution by not allowing time to progress but rather detaining it like an instant of the creative moment.

Landing, an incredible painting in which we can penetrate the Earth to its foundations. The painter takes a cross-section, and we can witness in planes the descent to the interior of original time. The things we see on the surface of the Earth come from the subsoil. It is dark world protected from the outside, and in its interior, it is a world apart, living and luminous, where the microcosm of subterranean insects collaborate in an ecosystem that is essential for life on the surface. This interior topology of the painter connects us to a very unique telluric force. 

From the interior, but now the interior of the being and the eternity, Kundalini appears, a magnificent painting that shows the convergence of sky and land, from the hermetic principle “that which is above is like that which is below:” The cosmic serpent expressed in the image of the galaxy together with the sun inside the Earth, the Kundalini effectively unites the Earth, expressed in the first chakra, muladhara, from where this serpent abandons its reptilian and slithering nature to rise like the spiritual force of the yoghi which aims to transfigure material forces into spiritual forces which is symbolized in the ascent of the Kundalini from the material base of the muladhara to the cosmic consciousness of the golden sun of the last chakra, Brahma-Rundra, the lotus of a thousand petals. 

This transfiguration of lead into gold demonstrates to the “new man” that he is none other than the archetype of the universal man of Adam-Kadmon of the Jews, the Alinsanul-Khamil of the Arabs, Socrates´ Sun, the Perfect Nature which Hermeticism shows us, and Falconi in his painting Awakening, with a humanized, stark Christ, the expression of the deep Christian humanity which is the eternal origin of mankind, a return to the universal being, to the transcendental man, to the cosmic Christ from the stark humanity. A tradition of the expression of a vital Buddhist pain that is expressed in the painting with subtle vigor, it crosses the works of  Pampite or the Lluqui with its stark Christs of the magnificent Quito baroque imagery to which Falconi is also an heir.

This experience is the Ascension, a painting where the plants express the perfect symbol of the elevation of the being in search of the origin and which seeks to return to the primordial past of these Jurassic plants that evoke the origin of planetary life and the personal life of the artist who grew up surrounded by a garden brimming over with nature (in his house and workshop in Pifo), and which is beautifully enhanced in his painting. The point of view of this painting is in some way also represented by his painting Saturn, where he plays with the lateral vanishing point and provides the observer another perspective. In the case of Ascensión, this is achieved through a closeup of the mushrooms or the beings of light which appear to be illuminated from the inside. Nature is exuberant and sparkling, luminous and abundant, where the plants are Kundalinis that rise and move like the singing of heliptropes and selenotropes which dance and move to the rhythm of the sun and moon.

Galo Cevallos Rueda

January 2024

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