JAIME REFOYO

AUTOBIOGRAPHY IN THE THIRD PERSON

Jaime Refoyo was born in León, Spain, in 1974.
He lives and works in Barcelona. In the long growth process of Jaime Refoyo’s work, what stands out above all is an aspect that has become his greatest concern: investigating and developing a language that belongs to the very essence of human nature. Not a language that identifies the matter of thought, but one that is that very matter of thought. A language that does not need interpretation to be understood. A language that is knowledge in its form.

If the past fifteen years of his life have been dedicated to developing a language making it possible to identify ourselves with the matter we are made of, it is because he believes that a knowledge can be gleaned from specific relationships between individuals that substantially improves human life. But before this, the Human must become an individual. An individual who justifies her or his own existence. An individual who finds his or her raison d’être through relations with other individuals and with her or his environment.

Promoting this individual awareness of the Human is the aim of Jaime Refoyo’s work.

And through the awareness of his own existence, he offers us an experience of what is real without intermediaries. He does not dispense the material of a new knowledge. He causes the expansion of the frontiers of our thought. In part through the capacity the body has to generate experience through a matter that it considers its own. That matter is what becomes visible in Jaime Refoyo’s work. Matter that becomes painting so it can develop. But what is truly innovative about his painting is not only what it shows. It is the meaning of what it shows. It is how it was carried out. That which made it possible. Factors that break the logic of our reasoning and suggest a new way of thinking. Factors that constitute the basis of his investigation. An investigation he calls Geography of Thought.

Barcelona, December of 2010

jaimerefoyo@gmail.com. Tel. +34 669 138 031

THE WORD

GEOGRAPHER OF THOUGHT

EXPOSITION OF THE STRUCTURE OF THE LANGUAGE OF THOUGHT THROUGH THE RELATIONSHIP BETWEEN THE CONCEPTS COMPRISING IT

EXPOSITION OF THE MEANING OF ACTION IN THOUGHT THROUGH THE RELATIONSHIP BETWEEN THE CONCEPTS COMPRISING IT

THE MEANING OF MY WORK. PAINTING AND THE WORD

PAINTING

THE FIRST STROKE

BREAKING MY ALPHABET.

HOW IT WAS DONE:
· EACH WORK EXECUTED IN A COMPOSITION OF STRAIGHT LINES BELONGING TO A SINGLE CONJUGATED ELEMENT.
· THE ELEMENT EMPLOYED WAS THE ARC.
RESULTS:
· HOMOGENOUS STRUCTURES IN DIFFERENT COMPOSITIONS THAT APPEAR TO OBEY THE SAME LAWS CAN BE OBSERVED.
· SIZE: 24 X 32CM. (EACH)

EXPLANATION OF THE CONCEPTS COMPRISING THE STRUCTURE OF THE LANGUAGE OF THOUGHT

ABYSS.

HOW IT WAS DONE:
· EXECUTED ON AN INDETERMINATE NUMBER OF SHEETS OF PAPER WORKED     ON SEPARATELY.
· THE SHEETS WERE THEN ARRANGED AND JOINED AT RANDOM.
· A SECOND ROUND OF DRAWING WAS DONE ON THE PAPERS AS A UNIT.
RESULTS:
· THE FINISHED PIECE SUGGESTS THAT THE LINES DRAWN EMERGE FROM             UNDER THE PAPERS DUE TO THE SPACES EXISTING BETWEEN THEM  WHEN THEY ARE JOINED.
· SIZE: 121,5 X 84CM.

NOTHING.

HOW IT WAS DONE:
· EXECUTED ON AN UNKNOWN NUMBER OF SHEETS OF PAPER WORKED ON SEPARATELY.
· THE SHEETS WERE THEN DISTRIBUTED INTO PAIRS AT RANDOM.
RESULTS:
· THE RESULTING PIECE IS COMPRISED BY THE WHOLE OF THE SHEETS DISTRIBUTED IN EIGHT PAIRS.
· IN THE PIECE, A STRONG IMAGE OF UNITY IS SUGGESTED BY THE RELATIONSHIP EXISTING BETWEEN THE TWO SHEETS OF EACH PAIR. 
· THE HARMONY EXISTING AMONG THE DIFFERENT PAIRS ALSO CONTRIBUTES TO THE PIECE’S STRONG IMAGE OF UNITY.  
· SIZE: 30 X 42CM. (EACH)

FIRST JUNCTION: GEOMETRIC ORGANIC.

HOW IT WAS DONE:
· EACH WORK OF THE SERIES EXECUTED FREEHAND ON A SINGLE SHEET OF PAPER WITHOUT PREVIOUS EXPERIENCE IN THE FREEHAND EXECUTION OF STRAIGHT LINES.
· THE STRAIGHT AND CURVED LINES WERE EXECUTED IN LESS THAN HALF AN HOUR.
· THE LINES WERE EXECUTED WITHOUT LIFTING MY GAZE FROM THE PAPER.
RESULTS:
· THE FINISHED WORK DISPLAYS JUNCTIONS OF THREE OR MORE LINES AT SINGLE POINTS.
· IT SUGGESTS A STRUCTURE WELL DEFINED BY THE ELEMENTS COMPOSING IT.
· SIZE: 112 X 76CM. /  112 X 76CM. / 112 X 76CM. / 76,5 X 56,5CM. / 23 X 29CM. / 70 X 101CM. / 70 X 50,5CM.

VOID.

HOW IT WAS DONE:
· EACH WORK IN THE SERIES CONSISTS OF A SINGLE SHEET OF PAPER.
RESULTS:
· THE LINES APPEARING ON THE SHEET OF PAPER SUGGEST THE POSSIBILITY OF THEIR ESTABLISHING SOME SORT OF CONTACT OR COMMUNICATION AMONGST THEM.
· SIZE: 30 X 21CM. (EACH)

SECOND JUNCTION: ARCHITECTURE.

HOW IT WAS DONE:
· EACH WORK EXECUTED ON A SINGLE SHEET OF PAPER.
· THE NEED AROSE TO PLACE ONE OF THE PAPERS ON A WOODEN EASEL AND THE OTHER ON THE STEP OF A WOODEN LADDER.
RESULTS:
· IN THE WORK, THE PLACEMENT OF THE PAPERS ON THE EASEL OR STEPLADDER SUGGESTS THE ATTAINMENT OF RESOURCES FOR THEIR SIGNIFICATION WITHIN THE ENVIRONMENT.
· SIZE: ARCHITECTURE HORIZONTAL / 73 X 76,5 X 42CM. / STAND. 
ARCHITECTURE VERTICAL / 147 X 57 X 22CM. / STAIRS

RELATIONSHIP: CUMULUS.

HOW IT WAS DONE:
· EACH WORK EXECUTED ON A SINGLE SHEET OF PAPER.
· THE ONLY ELEMENTS OF WORK USED WERE SINGLE, INDEPENDENT STROKES. ARCS.
RESULTS:
· IN THE PIECE, THE COMPOSITION OF THE ARCS SUGGESTS VAPOROUS FORMS.
· BY THE WAY IN WHICH THE ARCS ARE COMBINED, THE WORK ALSO SUGGESTS   THE POSSIBILITY THAT THE PAPER CONTAINS MORE THAN TWO DIMENSIONS.
· SIZE: 76,5 X 56,5CM. (EACH)

OBJECTS: ARTIFICIAL AND INERT JUNCTION.

HOW IT WAS DONE:
· AN AESTHETICALLY IDEAL IMAGE IS PHYSICALLY REPRODUCED. HERE, THIS IDEAL IMAGE IS REPRESENTED BY A WOODEN FRAME.
· THE AESTHETIC IMAGE OF THE WORK IS COMPLEMENTED BY A DISCOURSE APTLY FORMULATED BY THE ARTIST, AND THEN RENDERED WITHIN THE FRAME WITH BETTER OR WORSE RESULTS. HERE, THE ARTIST’S DISCOURSE IS REPRESENTED BY THE SHEET OF PAPER.
RESULTS:
· THE WORK SUGGESTS A QUICK, TWO-WAY ASSOCIATION BETWEEN THE FRAME AND THE PAPER, IT BEING DIFFICULT TO IMAGINE ONE WITHOUT THE OTHER.
· THE WORK THUS ALSO SUGGESTS THE PAPER’S LACK OF LIFE BEYOND THE FRAME’S MARGINS.
· SIZE: 42,5 X 50,5 X 5CM. / 48 X 80 X 8CM. / 30 X 27 X 28CM. 

EXPLANATION OF THE CONCEPTS INVOLVED IN ACTION IN THOUGHT

Y.

HOW IT WAS DONE:
· EXECUTED FREEHAND IN A SINGLE GESTURE ON EIGHT SHEETS OF PAPER WORKED ON SEPARATELY.
· FOUR PAIRS WERE ARRANGED AT RANDOM.
RESULTS:
· THE COMPOSITION RESULTING FROM THE UNION OF THE TWO SHEETS OF PAPER IN EACH PAIR DISPLAYS A LEFT-RIGHT OSCILLATING MOVEMENT.
· SIZE: 76 X 113CM. (EACH)

SCRIBBLE.

HOW IT WAS DONE:
· SEVERAL MARKED SHEETS OF PAPER DISCARDED FROM PREVIOUS WORKS WERE USED.
· A SINGLE QUICK GESTURE IN THE FORM OF AN ELLIPSE WAS EXECUTED ON EACH SHEET SEPARATELY.
· ONCE THIS MOVEMENT WAS DONE ON ALL THE SHEETS, THEY WERE TAKEN UP SEPARATELY AND AT RANDOM AND ARRANGED IN A LINE FROM LEFT TO RIGHT, ONE AFTER THE OTHER.
· THE SAME PROCEDURE, THOUGH STARTING WITH COMPLETELY BLANK SHEETS OF PAPER, WAS CARRIED OUT IN ANOTHER THREE SERIES, BUT THIS TIME COMBINING TWO ELLIPTICAL SHAPES ON EACH SHEET.
RESULTS:
· THE ELLIPSIS MOVES TO DIFFERENT PLACES ON THE SUCCESSIVE SHEETS OF PAPER BUT MAINTAINS A SINGLE MORPHOLOGY.
· THE SHAPE ALSO CHANGES ITS ORIENTATION ON EACH SHEET, BUT MAINTAINS THE SAME CADENCE OF MOVEMENT. IT CAN BE OBSERVED HOW THE GESTURE IS TRANSFERRED TO THE SUCCESSIVE SHEETS AS IN THE PHOTOGRAMS OF A MOVIE. WITHOUT ABRUPT BREAKS.
· THE RESULT IS THE SAME FOR THE COMPOSITIONS IN WHICH THE DRAWINGS CONSIST OF TWO ELLIPTICAL SHAPES.
· SIZE: 
1 / 30 X 126CM, 2 / 30 X 84CM, 3 / 30 X 84CM, 4 / 30 X 63CM.

LOVE.

HOW IT WAS DONE:
· EXECUTED FREEHAND WITHOUT LIFTING THE PENCIL FROM THE PAPER.
RESULTS:
· A SINGLE LINE CONTAINING A HOMOGENOUS CURVED SHAPE CAN BE OBSERVED TO DEVELOP.
· THE SHAPE THAT THE LINE DESCRIBES IS IN CLOSE RELATION TO THE MARGINS OF THE SHEET CONTAINING IT.
· SIZE: 112 X 77,5CM. (EACH)

LOVE Y.

· SIZE: 76 X 227CM.

VISION.

HOW IT WAS DONE:
· WORK CARRIED OUT IN THE CENTER OF A SHEET OF PAPER, CONSISTING OF COMBINING A SINGLE REPEATED ELEMENT.
· ONE OR TWO STROKES FROM THE TOP TO THE BOTTOM OF THE SHEET WERE THEN EXECUTED, DIVIDING THE SPACE DRAWN EARLIER INTO TWO.
· SEVERAL LINES WERE EXECUTED BEGINNING AND ENDING ABOVE THE UPPER EDGE OF THE PAPER.
RESULTS:
· THE LINES, LONG AND CURVED, MAINTAIN A TENSION THAT MAKE THEIR UNIFORM SHAPES APPEAR LIKE DROPS OF WATER.
· THESE CURVED LINES MAINTAIN A CERTAIN BALANCE, WITH BOTH THE BACKGROUND DRAWING AND THE VERTICAL LINES.
· SIZE: 102 X 81,5CM. (EACH)

THE GEOMETRY OF VISION.

 · SIZE: 102 X 245,5CM.

BECOMING.

HOW IT WAS DONE:
· OVAL OR CIRCULAR LINES WERE EXECUTED FREEHAND ON AN INDETERMINATE NUMBER OF SHEETS OF PAPER WORKED ON SEPARATELY.
· THE SHEETS WERE ARRANGED INTO THREE PAIRS AT RANDOM.
· THE THREE PAIRS WERE THEN ARRANGED TO COMPOSE A SINGLE WORK.
RESULTS:
· THE RESULTING WORK IS COMPRISED BY ALL OF THE SHEETS DISTRIBUTED INTO THREE PAIRS.
· IN EACH OF THE THREE PAIRS, ONE SHEET IS MORE SATURATED WITH LINES THAN THE OTHER.
· THE WORK SUGGESTS TWO READINGS: ONE HORIZONTAL AND THE OTHER VERTICAL.
· SIZE: 308 X 164CM. (EACH)

THE GEOMETRY OF BECOMING.

· SIZE: 308 X 164CM.

CONTEMPLATION.

HOW IT WAS DONE:
· AN ARC WAS EXECUTED FREEHAND IN THE FORM OF A CIRCUMFERENCE ON SEVERAL SHEETS OF PAPER WORKED ON SEPARATELY.
RESULTS:
· REPETITION OF THE SAME CURVED SHAPE ON THE DIFFERENT SHEETS.
· THE TIPS OF THE ARC COINCIDE WITH THE TRAJECTORY OF A PERFECT CURVE.
· SIZE: 102 X 81,5CM. (EACH)

THE GEOMETRY OF CONTEMPLATION.

· SIZE: 108 X 399CM.

THE BECOMING OF CONTEMPLATION.

· SIZE: 102 X 329CM.

REVERSE SIDE.

HOW IT WAS DONE:
· EXECUTED ON AN INDETERMINATE NUMBER OF SHEETS OF PAPER WORKED ON SEPARATELY.
· ALL THE SHEETS WERE THEN ARRANGED INTO FIVE PAIRS.
· TEN MORE DRAWINGS WERE CARRIED OUT, INSPIRED BY EACH OF THE DRAWINGS IN THE FIVE PAIRS.
· TO EXECUTE THE LATTER DRAWINGS, A DIFFERENT COMBINATION OF THE SAME STRUCTURE (THE ARC) WAS USED. · THE LATTER DRAWINGS WERE PLACED BELOW THE ONES FIRST CARRIED OUT TO FORM FIVE SETS OF FOUR. RESULTS:
· THE SHEETS WERE CLEARLY ARRANGED INTO THE FIVE PAIRS ACCORDING TO THEIR GREAT SIMILARITY IN SHAPE. YET AT THE SAME TIME, THEY DISPLAY A SMALL DIFFERENCE IN THE ORIENTATION OF THAT SHAPE.
· EACH SET OF FOUR DRAWINGS ALLOW A HORIZONTAL AS WELL AS A VERTICAL READING.
· SIZE: 204 X 157CM. (EACH)

LOVE

LOVE COMPATIBLE.

HOW IT WAS DONE:
· EXECUTED ON AN UNKNOWN NUMBER OF SHEETS OF PAPER WORKED ON SEPARATELY.
· THE SHEETS WERE THEN DISTRIBUTED INTO PAIRS AT RANDOM.
RESULTS:
· THE RESULTING PIECE IS COMPRISED BY THE WHOLE OF THE SHEETS DISTRIBUTED IN FIVE PAIRS.
· IN THE PIECE, A STRONG IMAGE OF UNITY IS SUGGESTED BY THE RELATIONSHIP EXISTING BETWEEN THE TWO SHEETS OF EACH PAIR.
· THE HARMONY EXISTING AMONG THE DIFFERENT PAIRS ALSO CONTRIBUTES TO THE PIECE’S STRONG IMAGE OF UNITY.
· SIZE: 112 X 154CM. (EACH)

LOVE IN MOVEMENT.

HOW IT WAS DONE:
· EXECUTED FREEHAND IN A SINGLE GESTURE ON EIGHT SHEETS OF PAPER WORKED ON SEPARATELY.
RESULTS:
· THE RESULTING WORK CONSISTS OF THE FOUR DIPTYCHS DISTRIBUTED RANDOMLY.
· THE COMPOSITION RESULTING FROM THE UNION OF THE TWO SHEETS OF PAPER IN EACH PAIR DISPLAYS A LEFT-RIGHT OSCILLATING MOVEMENT.
· SIZE: 112 X 153CM. (EACH)

LOVE IMPERFECT.

HOW IT WAS DONE:
· EXECUTED ON AN UNKNOWN NUMBER OF SHEETS OF PAPER WORKED ON SEPARATELY.
· THE SHEETS WERE THEN DISTRIBUTED INTO PAIRS AT RANDOM.
RESULTS:
· THE RESULTING WORK CONSISTS OF THE FOUR DIPTYCHS DISTRIBUTED RANDOMLY.
· A STRONG IMAGE OF UNITY IS SUGGESTED BY THE RELATIONSHIP EXISTING BETWEEN THE TWO SHEETS OF EACH PAIR.
· SIZE: 112 X 156CM.  (EACH)

LOVE AFTER ALL.

HOW IT WAS DONE:
· AN ARC WAS EXECUTED FREEHAND IN THE FORM OF A CIRCUMFERENCE ON SEVERAL SHEETS OF PAPER WORKED ON SEPARATELY.
· THE SHEETS WERE THEN DISTRIBUTED INTO PAIRS.
RESULTS:
· THE RESULTING WORK CONSISTS OF THE FOUR DIPTYCHS.
· SIZE: 102 X 164CM. (EACH)

LOVE BOUNDLESS.

HOW IT WAS DONE:
· EXECUTED FREEHAND IN A SINGLE GESTURE ON TWELVE SHEETS OF PAPER WORKED ON SEPARATELY.
RESULTS:
· THE RESULTING WORK CONSISTS OF THE SIX DIPTYCHS DISTRIBUTED RANDOMLY.
· A STRONG IMAGE OF UNITY IS SUGGESTED BY THE RELATIONSHIP EXISTING BETWEEN THE TWO SHEETS OF EACH PAIR.
· SIZE: 112 X 155CM. (EACH)

NEWS