«That space and time are only forms of sensible intuition, and therefore only conditions of the
existence of things as phenomena«.
(Immanuel Kant, Critique of Pure Reason, 1781)
«The idea of time and space where everything exists has always been present in human thought
because it is part of our daily experience. However, and in spite of the time that we daily inhabit in our
own and other people’s places, both our own and those of others, we are not aware that we are
precisely the ones who build that space through our presence and experience in it.
Somehow a kind of appropriation of the place is produced, a connection with the environment that
In this conceptual framework, Aythamy Armas proposes to materialize his work space in another
space as it is now Alzueta Gallery. The symbolic transformation of this place of transit into an
inhabited space is physically configured through the presence of a series of pictorial works,
photographs of the creative process and aromas of the materials, which stage the artist’s own studio.
Through a visual and olfactory sensory experience, Aythamy invites us to enter his personal, intimate
and reserved space in order to make it our own, to inhabit it, to live in it, to make it also ours, to share
it, awakening our conscience awareness of the time we are passing through and the space we are
Aythamy is certainly a prolific conceptual artist, always exploring different ways to interpret reality. The
development and impulsive plastic execution of his work through a drawing liberated and full of
expressive elements of pictorial language – texture, stroke, stain, light and shadow – can trigger
complex and subjective associations. Thus, we could say that rather than abstract, these forms that
Aythamy creates live in the world of ideas much more than in the physical. His works transcend their
own objectual and aesthetic existence to acquire a certain significance, as does the frequency
significance, just as frequency is represented graphically by waves.
As if it were a semiotic research, the continuity or discontinuity of the strokes without
that we perceive on his canvases and papers, a series of premeditated operations that explains how
this undulatory phenomenon «connects» us in time and space at a certain frequency: 146-219.´´
Jaime López Pestaña