Omar Guerra

Espacio Morelos presents The line consists of an infinite number of points by Omar Guerra. During the First GDL ART WKND, the exhibition will be open on Thursday, Firday and Saturday from 12 to 5pm.

.The line consists of an infinite number of points

Following the limpid lines of Euclid, we find the elusive shadows that dance on the peripheries of his postulates. Classical geometry, with its immutable lines and discrete points, stands as a solid edifice, but looking up to the stars of metaphysics reveals cracks where disturbing questions reside.

As the dimensionists proposed in 1936; The arts, animated by a new conception of the world, had to transcend the barriers of their own forms of expression. Literature had to go beyond the line and occupy the plane; painting, leaving the plane and occupying the space; and sculpture, overcome the dead, closed and immobile three-dimensional space of Euclidean and evaporate into a new form of “Cosmic Art”. An art that displays diverse routes, movements and encounters, weaving connections between consciousness and essence.

In the work of Omar Guerra one finds the narrative of astonishment itself. The passage from mythos to logos, and back to mythologos, as an event that generates multiple discoveries in a short space-time. A kind of spiral in eternal return, as we find in Tertium Organum.

For the logos there are eminently dualistic concepts, allegories and syllogisms, mutually exclusive; but in mythos there is a logic about unity with a whole. Two systems, two powers in dialectical relationship; body, mind and substance as one reality; self-consciousness related to cosmic consciousness. In short, the universe that sees itself through an observer who is, in turn, itself.

We have caressed the cosmos at every moment. However, the modern dilemma inherent to our existence, as proposed by the writer and composer George Gurdjieff, lies in an excessive growth of personality, at the expense of essence; an excessive growth of the unreal and the external, at the expense of the natural, the real and what one is same.

Maybe – just maybe – the answer is to return to the forms, as a symbolic synthesis that transcends mere tangible reality; essences of nature itself, the human and the divine. Trace paths with lines that unfold on a map of possibilities, complex and harmonious at the same time.

We are memory, a chimerical museum of forms fickle, a lot of broken mirrors. (Borges, 1984).

— Cecilia Álvarez-Tabio