To generate a space in the arts, is one of the hardest thresholds
to trespass for the artists of the Twenty first Century.
The technological and the scientific advances and the creative
exhaustion that contemporary mankind is living, makes
the shining of the possible spaces be each time smaller, more narrow
The Kali Yuga in which we live in (the "age in shadows "according to the Vedas) serves to justify on any support, with any technique, an insolent skirmish of art that legionaries of snobbism validate without the most minimum criteria. Digital art runs that risk.
Santiago Espeche has definitely crossed the threshold and the limit overwhelms itself in shinning brightness. In his second solo show the "concept" of his satellite eye reaffirms itself to confirm a universe "in figura" presenting more than representing the theme, creating in itself a conceptual digital "new figuration".
The image "ajeropoieté" captured by his satellite eye of our American geography is faithful to his creative concept of "non-photo composing but to intervene on the finding ".
His pieces "Commendo Spiritum Meum" and "Caro Factum Est" approach me to another poem of father Navarro:
Lucas 23 44,46.
"The veil of the temple cracked.
A dense mist,
Covered the space and time,
Like the heart of a black stone
That you can not touch.
Tradition and world evaporate.
Nothing remains, nothing was.
Only an open and suspended scream:
"My God, My god
Let there be light!"
Espeche captures that instant where " tradition and world " evaporate in "Eli Eli lama sabactani" and captures the dense mist in "Inferos", but the shout of " let there be light " always imposes itself in "Tertia Dies" and "Ijthus".
A redemption light is present in all his "Pesaj".
He intervenes those "ajeropoieté" images and in his "poiesis", Espeche ,in a liturgical sense converts his "threshold in a mystical shining of the possible spaces".
Eduardo Tenconi Colonna
Cuaresma de 2005