Kaleidoscope aquarium

One of the things I most apreciate about modern paintings conceived from any kind of idea or general concept (not necessarily concrete) when expressed in abstract, is the fact that they transports us to other places.
They dig into our minds -even subconsciently, even if you're not actually looking at the picture but just sharing the same room: it afects you...-; they're able to do that, they have that power, and we may all think about them differently depending on what they make us feel, so nobody's right, nobody's wrong, it's all about emotion.

Once you're in front of these kind of hallucinogenic propossals, you suddendly end up in any other type of psychological environment than expected, places you know that are in you (maybe you weren't even aware of them at the time and you realize in the very moment) and where you can't really go on your own whenever you want, unless you know how. One can only come back once he/she's already been there, it's like what pirates say about Turtle Island. And so, in the begining you need that incentive, and the way it stimulates your memory related to dreams, real experiences, astral proyections, etc... It conects us to our deeper side, the soul, and that's why when we really like something we feel at home. Or when we receive its agony we'll feel insecure and may condemn the injustice on it, or whatsoever. It can really be called magic.

This piece by Roberto Matta Echaurren (Chile 1911-Italia 2002) makes me think about futuristic cities, cosmopolitan structures, fast speed, neon light, Coca-cola, Pizza Hut, Nintendo, rain, clouds, pollution, computers, maps, plastic clothes, stereos, gloves without the fingers, Blade Runner, grunge movement...
in a way it's a flurry mix between this science-fiction stetic developed by cinema in the late 80's, and free adventure where we through ourselves without parachute because we know it's only a dream. We can be inside of it without any fear. Nobody's gonna think bad things if we mistake, nobody's gonna know what we've thought unless we tell them.

We distinguish here three different parts full of geometrical non-especified elements interconected one and other, as if in an open space, maybe even utopian, clearly separated from right to left caring equal importance.

In another context, the title also evokes many other things. On the on hand, the kaleidoscopian vision would refer to a game between perspective, a concrete view and mirrors; and on the other hand, an aquarium would refer to the capacity of floating, breathing under water, calm, dry/wet, marine animals...
At first I thought that putting those two words together was just another game of the so-called surrealistic habits searching for beauty, or crazyness, or humour... But the more I think about it, and knowing other paintings from this author, we realize it actually fits on pourpus: it's a fusion between tension and relax, caos and peace, rock&roll and chill-out. We can even say reggae, the colours of the rastafari movement (Etipoia's flag) and the vapour and the sleepy feeling are present.

I was very surprised at the museum when I saw the sign that said that this was made in 1957, I almost couldn't believe it, I though that that meant he's the one been copied (if so), and not the other way around.
There were already happening all this outer space imaginary back then, before literature passed from fantasy to critical underground matters. It makes me wonder.

Anyhow, this artist is considered the last surrealist, and from all I've been saying, I guess we can understand why. It's not only a cronological fact, it's also about his tematic according to society.

Roberto MATTA http://es.youtube.com/watch?v=Tf0t9Lc_46Q