Following in the footsteps of Joseph Albert's reflections, Jorge Quijano searches for visual interactions through the use of color, technology, and an awareness of self-reflective memories. By exposing his visual perceptions, or what we call “knowledge,” he creates portraits where there is an unavoidable discrepancy between facts, effects, and the relationship between our social consciousness and the constitution of the world around us. Our perception of these juxtapositions, our attempt to totally grasp the self, inspired by the Aristotelian goal of “art as the ability of production in accordance to the truth,” leads us to mentally synthesize these fragments in order to reconstitute the whole person.
With his portraits, Quijano evokes an environment which differs from the naturalistic mode. Using images or visions that exist strongly within his memory, Quijano projects them on to canvas, manipulating forms, lines, and color. His aesthetic arises out of awareness that our increasingly technological world makes it more difficult to grasp the passion and spirit of truthful representation.
This dynamic confrontation places the viewer in the crux between two extremes: that of objective information culled from the represented object in the work of art, and the non-objective qualities which are formed by the technological manipulation of the portraitist creating the representation. The perceptions of the viewer-which are subject to error, but without which there would be no perception, either objective or non-objective-are a necessary dynamic to the interrelationship between the work and its viewer.
Quijano's portraits provide us with clues that help to orient our thinking about identity. Paraphrasing S_ren Kierkegard, they are like individual ideas, having their own histories, and retaining a kind of homesickness for their native place. Compelling questions about their existence in time arise and seem to corroborate some record of historical existence in Quijano's memory.
But like Aristotle's opinions on art, these memories do not have regard for their maker; it is the spectator who, in contemplating the final product, finds what is inherent in the object and activates its power.