This multiple project integrates many disciplines and explores the aesthetic of spiritual practices and magic rituals, discriminated by dominant established Christian religion and the positivist trends in western culture. Including discussions, performances and other experiments which analyze the problematic of “otherness” for people who practice rituals related to Candomblé, Umbanda and Quimbanda originally carried by African slaves and later practiced by its descendents in Brazil, Uruguay, Cuba and Haiti among other Latin American countries.
In ”24 hoursdontstopaint” Arrosamena has broadened from the analysis of meaning of body as an object to an investigation of their spatial dimensions.
Images are revealed through light; darkness transforms reality and allows the image to be open and suggestive. Arrosamena let´s an open door to enjoy relax inside his installations
The result is surprising and powerful as it redefines how abstract forms can transform a space.
The dense imagery that permeates Arrosamena's collage books can be sourced to a trove of visual material that the artist has collected over the years. This includes his own photographs and paintings, as well as clippings from magazines, journals and newspapers or even small objects.
The perceived horizon of reality is the horizon of present time, which has the same limits as the space of life. The dimensions of time and space are not differentiated, only when people moving around the "Transitional Territories"
Where are the criteria for the narration of a given theme? How does an act of documentation relate to perception and the moodalities of storytelling?
Arrosamena investigates the narrative conditions of culture and the nature of reality. The subject matter is structured around sequences of life
An important realization that permeates the collected Avant-