When the world appears, how misunderstood it is becomes evident, partly due to the conquest of machines, which turn it into something complex and difficult to understand, and partly because there is an interest in teaching that it is something unintelligible. Within this logic, the art world, divided between a modernity composed of constructivisms marked by gestures of genius and a postmodernity laden with epigonal assumptions of artistic heroism, has shown us that machineness ends in mediocrity and in the administration of a total chaos, where the artist operates as a representative of a global civility of design.

Contemporary painting reacts against this homogenizing civility from the margins, where the perspective of the world and of being is shifted, undermining the idea of the competence of a subject who dominates things at will, and replacing it with a creator capable of recognizing the gratitude owed to the things that exist in everyday life. Those who dare to paint today do not subjugate everything to a supposed sovereignty that alienates them in constant utility; rather, they are those who know how to meditate contemplatively and piously with the things that are offered to them through the found object, the formal structure, or nourishment.

In today’s painting, as is natural, the things we encounter in the world fulfill functions. They no longer appear detached from appropriations safeguarded by a priori principles, nor as objects of fortuitous sanctifications. On the contrary, things, thingness itself, become open opportunities for dialogues of transformation through new processes of creation. In this sense, contemporary painting inscribes itself within an ironic meliorism, since instead of aspiring to the development of a world burdened with suspicions, it installs the concept of innovation, as in art the word progress has no place.