AUTOMATIC CITY BERLIN

In Berlin I watched the line carve the surface. I had been told that Berlin, if it admitted me, would mistreat me as many times she wanted, giving me only the bare minimum each time just to let me breathe, testing me, compeling my real identity to manifest. My decision to remain was what kept me alive, and my decision to be was why I abandoned it. I sank with my gouges into the vegetal topology of Brandenburg, the neurosis of industrial circuits, generational traumas, post-war architecture, coal routes, secret codes and endless bureaucracy. Inside and outside myself, reality presented the line no longer as a trace sketched by the movement of a human limb of some origin, existence and projection; but as a void filled by contingency.

In some works I abandoned figuration in favour of a dialogue with the wood, submerging it in the black magma, trying to accelerate its extinction. In others I raked, finding the other layer of reality, that of the sandy depths of this plain. Sometimes I let my perception melt around a figure or two when without knowing what to express figuration came back to me to comfort me, only for a bit. The shoes emerged behind the scenes parading the tacit Germanic identities. Thermodynamics, quantum interest in black holes, fanaticism about time, perhaps it was my fondness for the work of Albert Einstein and the interest in knowing the ecosystem that nourished his hopeful brain. But perhaps like him I also came to the conclusion that the German people, after becoming masters of it they would have lost the trace of its meaning. I am talking about time. And of course the work of Kathe Kollwitz, the predecessor of German expressionism.

I understood the image, that which concerns my profession as a painter, as the set of coincidences that orbiting over thousands of streaks composed for a millisecond showing a certain and irreproducible reality. I wanted to create an image that adheres to the prohibition to capture the private. Using the woodcut technique I created originals that cannot be reproduced. The image is that of empty space. I held myself back between painting and engraving by furrowing a bas-relief with my tools. This is where I can feel the making of time. To respond to its presumed capital city I decided to float, to stop being a painter, and to flee away in time. To work on wood allows me to start my work from time and then add my own alteration and decomposition. I am trying to go where time lives after death.

Mx Watson

Gas

120 x 60 cm, painted and carved wood

2022, Luckenwalde

“Das duell”

60 x 93 cm, painted and carved wood

2022, Luckenwalde

“Walzer mit den Russen”

120 x 125 cm, painted and carved wood

2022, Luckenwalde

“Walzer mit den Russen”

120 x 125 cm, painted and carved wood

2022, Luckenwalde

“Sin título” / Undergraduated

64 x 70 cm, painted and carved wood

2021, Berlin

“Osloer Strasse”

41 x 93 cm, painted and carved wood

2021, Berlin

“Ethnia I & II”

120 x 60 cm, painted and carved wood

2021, Berlin

“Mermelade Skies”

60 x 120 cm, painted and carved wood

2020, Berlin

“Warschauer Strase”

80 x 130 cm, painted and carved wood

2020, Berlin

“Östliches Kind”

96 x 83 cm, painted and carved wood

2020, Berlin

“Africa”

34 x 30 cm, painted and carved wood

2020, Berlin

“Stellar dust”

34 x 30 cm, painted and carved wood

2020, Berlin

“Organic vs Artificial”

80 x 30 cm, painted and carved wood

2020, Berlin

“A singularity”

36,5 x 28 cm, painted and carved wood

2020, Berlin

“Interstellar”

26 x 34 cm, painted and carved wood

2020, Berlin

“Thermodynamics”

26 x 35 cm, painted and carved wood

2020, Berlin

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