critical texts


The last eclipse
Silvia Llanes Torres
Supported by the deceptive shadow of the last eclipse the artist Carlos Guzman proposes his last transformation, the metamorphosis of the worm to the butterfly. While his first creation was the transformation from the man to the machine, as a primitive sign of power, but negligible, since its passage through the world was limited and manipulated by the creators of gears, the last mutation is not from negligible mortal to the automatic machine, but from the artefact to the ancestor, the first animal, the origin of the world.

Carlos Guzman tried first with the skin of small saurians and with the powerful wings of the majestic bird to finish transmutation with the original animal: the best representation of all legends, the power of the fire it expels, the air circulating around it, the water in which it sinks, the earth in which it hides to gain more force, the animal, which is the symbol of all elements, allegory from start to the end, the total power.

It is a painful transformation that has been carried out at any cost, through all ways, even the mystical one, like it is to shut away into the desert, to the heat, thirst, hunger and hallucinations to turn then into his totem animals, his alter egos: the salamander and the eagle. But it was not enough. The power of land, water, air and winds was increased by eternity and fire. Great wings in blue spaces, a mouth full of hot and cries, some kind of heaviness on the incomplete limbs that can not go high, small masks that do not hide the need of ascent; a whole set of impressions that must be improved.

The man-dragon new mutation compiles the knights-eagle series and the journey of man-salamander. The pain is once again the subject of the series, a feeling explored in previous creations: Oxygen, some cut in the skin, the journey of man- salamander, and the expression of suffering as a method or laxative for the cleaning of the body and spirit. The great dragon means also purity, and the result of that purification is the paradise of the conversion. It is the universe and impetus, the site, which all the sacrifices lead to; the supreme award, body, place and paradigm, the goal of all pilgrimages through the bodies of animals and machines.

Guzman has created a new symbolism for the dragon. It is a mixture of mythical Chinese dragon and that of the children legends, a union of all his personal aspirations and the powers that have traditionally been attributed to those animals. The dragon represents freedom, longevity, power, strength and invulnerability, all desires latent in conjunction with their totems.

To express this new universe, in which the body of dragon is related to the earth, the space, the support and means of support, Guzman recreated the collage resource—recurrent in his works—the delicate joint and accumulation of textures from the painting itself and the abundance in the use of golden and silvered colours, pigments used by him in his previous works, which are shaded from the light sienna until the most intense blue nuances.

The creation of the machine-man was not enough according to the need to express life and security, since it was just about an artefact inside a human body. So, a second metamorphosis to exceed the machine-man and even improve it was necessary, a symbol of power and absolute freedom: a dragon-machine.

The man comes off its machine and after having been idealized, the final change is produced to its highest level of expression. It would be a total change, like the last eclipse, beyond all the rules. In this case, a machine-man keeps alive the spirit of dragon that can fly forever.