SUBTER-FUGE

 

NIGHT CUBE

 

BAJO CONTINUO

 

 

COMES IN WAVES

 

 

 

EVERYTHING IN ITS RIGHT PLACE

 

 

FREQUENCY MODULATED

 

 

GRAVITY BENT TIME

 

 

VANISHING THRESHOLD

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LA TRAMPA DEL TIEMPO

 

OF THE ESSENCE NOW

 

 

TIME ALLOWANCE

 

LIMIT OF OBSCURE

 

 

MINUTE FLUCTUATIONS

 

 

NO LLEGA LA NOCHE

 

 

INSIDE JOB

 

 

SELF-FULFILLING

 

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SPECULATIVE MATTER

 

LIGHTEST DARKNESS

 

THE OTHER SIDE OF FLAT

 

TEMPTING MADNESS

 

WITHIN LIMITS

 

THE FALL

 

 

 

 
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ORBITAL 2

 

 

ORBITAL 3

 

ORBITAL 4

 

ORBITAL 5

 

ORBITAL 6

 

ORBITAL 8

 

FLAT ORB

 

Miguel Osuna may rightly be called a landscape painter, but his landscapes have steadfastly defied convention. In his earlier work, the landscapes had the feeling of fleeting memories, captured from moving cars in a rainy urban monochrome -an external reality experienced by an eerily collective subjectivity. In his new series the landscape goes internal. The rigorous attention to detail and the melancholy blur that envelopes the whole are still present, only now the portal of the canvas leads one less to a distant memory of a place seen out the car window, and more to a fractal of some present internal moment, into the neural pathway of the process of memory itself perhaps. The mind, confronted with an incomprehensible level of detail, survives the experience by softening the edges, and imagining blur where none exist, color where only black and white materials are present, and light emitting without source. The artist continues to lure and inspire his viewers into oddly tender relationships in unexpected places. Much as one developed a fondness for the caressing curve of hard concrete pillars in the earlier work by freezing a moment usually experienced at high speeds, the new series invites us to caress the unfolding undulations of our own minds, by suspending a landscape of details that are usually processed in milliseconds and discarded as so much white noise coming between us and our narrative viewing pleasure. Osuna's landscapes warp time. In a culture obsessed with ever faster delivery of information, his art takes as it subjects processes that move quickly, but his treatment of these subjects resolutely prioritizes the joy of lingering in the middle of the stream.
Greg Sax

© miguel osuna