Norberto Sayegh

It is known that a work is not complete until there is a spectator.

It is the viewer who reconstructs the work and gives it meaning, partial if you will. Something similar happens to the author. Even if you have a fairly precise idea of what you want to do, it is impossible for you to do a closed job; During the production, the original direction has to be modified because the work begins to manifest itself and must be attended to. That is to say, the first spectator of the work is always its own author, who will discover aspects that were not contemplated in the plan that had been proposed for the work. Thus, subsequent viewers will be able to continue enriching the work (interactivity is nothing new), because contemplation is not a passive phenomenon.

When I proposed this series of “The invisible glances”, inspired by the work of Italo Calvino (the invisible cities), I started from the tradition in painting of approaching a text as a theme, although proposing to interpret it from the abstract, knowing from the outset the limitations subjective aspects that this implied.

The text has a rhythm; plans that, when unfolded, suggest different layers of information. We can associate colors and lines to these planes: horizontal or vertical movements. The text contains symbols that can, in turn, be objects of abstraction and taken to the minimum formal expression.

But this interpretation of the text is still partial. More personal aspects also intervene, linked to our history and knowledge.
Reading the work can be approached, in my opinion, from different levels:
The pictorial-compositional, to the extent that it is a work independent of the literary work that served as inspiration. And here I would like to say that the photographs that are an integral part of the works, for me, should be seen as paintings made with light and matter; I am not a photographer and it is not my intention to take photographs.
The visual-literary, since they offer a personal, abstract look at the texts of Italo Calvino.