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El arte cubista tiene muchas maneras de interpretarse, hasta el punto donde podría existir una ruptura conceptual de la realidad. <center>¿Pareidolia?*</center><p>\n\n<br><div class=\"text-justify\">El Cubismo, es uno de los movimientos mas importantes de las vanguardias artísticas (corrientes surgidas en Europa en las primeras décadas del siglo XX; y que luego se extendieron al resto de los continentes, especialmente hacia América) tenia como objetivo muy preciso romper con la percepción del pasado, que concebía el arte como una simple copia de la realidad, a través del uso de las perspectiva, el cálculo de las proporciones y las impresiones que se producían en la retina del ojo humano al contemplar una escena.<p>\n\nLa visión clásica del arte que perseguía obtener un «retrato» genuino del mundo, sería modificado a partir de 1905, por un profundo cuestionamiento de los cánones renacentistas, surgido entre muchos artistas de principios del *siglo XX*. Esta ruptura con las corrientes tradicionales, estuvo acompañada de una serie de innovaciones científicas como la Teoría especial de la relatividad de *Albert Einstein* y los logros tecnológicos como la invención de los automóviles y el ferrocarril, que contribuyeron a un desarrollo acelerado y a la sensibilazion social del arte que surgiría a raíz de la implementación de estos cambios sustanciales.<p>\n\nEsta tendencia tenía como precepto descomponer las formas en planos. Al quitarles profundidad. podían identificarse simultáneamente todas sus caras desde distintos ángulos, para intentar crear una cuarta dimensión, con el empleo de figuras geométricas como el cubo; allí su nombre. De esta manera, el artista representaba lo que pensaba de un objeto y no lo que veía, es decir buscaba trascender el proceso visual como fenómeno meramente biológico, para elaborar una interpretación que involucrara las ideas y la racionalidad. Los temas o motivos en la producción cubista era los mismos abordados durante el Renacimiento: la figura humana, el paisaje, las naturalezas muertas u objetos. Lo significativo y revolucionario de esta tendencia, fue su planteamiento revelador al lograr la descomposición total de las formas, hasta llegar a la abstracción.<p>\n\nPara la historia del arte, los movimientos artísticos vanguardistas son cruciales, al esbozar una nueva forma de creación con un alcance universal, que permitió al evolución discursiva hasta lograr expresiones cada vez más libres.Así el Cubismo, con sus representantes más conocidos, *Georges Braque y Pablo Picasso*, acompañado de aquellas corrientes que permitieron un salto hacia otros rumbos, encabezaron una verdadera innovación de el arte moderno, antes las formas tradicionales de captar la realidad.\nEl valor fundamental de cambio que valientemente desarrollaron las vanguardias,hasta influenciar de manera significativa al arte moderno.</div></br>\n\n\n<center>![Captura3.PNG](https://steemitimages.com/DQmSafTMQQzHuMoC87HRu5GgPKWNP32kzZwWwaMWDshtR4w/Captura3.PNG)</center>\n\n\n<center>![Captura4.PNG](https://steemitimages.com/DQmQnKBVnp2aA6CF3uDnuvRtfaYHYzNqL9M2rHsHvidyryc/Captura4.PNG)</center>\n\n\n<center>![Captura5.PNG](https://steemitimages.com/DQmeX5Zhhq36z76hJcpx2AUA3dkQtrqEM1LT6uEBKj5rASa/Captura5.PNG)</center>\n\n\n<center>![Captura6.PNG](https://steemitimages.com/DQmbH6TWA1TJVnvtZ9YaWbajAmiNWMMXeBMRLieLY9iVZ77/Captura6.PNG)</center>\n\n\n<center>![Captura7.PNG](https://steemitimages.com/DQmVQr5edqxrPjgme777K3YqnFyHxyFvVJvsbYLBhcfMix3/Captura7.PNG)</center>\n\n\n<center>![Captura8.PNG](https://steemitimages.com/DQmawBo6A1CFSwwGxLVFccyHLkaFfMbtD2kcu4tJVfd8oR3/Captura8.PNG)</center>\n\n<center>![captura2.PNG](https://steemitimages.com/DQmZk9wFnbttkJzJGt7R2FJW71wpmBcw2vAzE1Tc6GJsRC1/captura2.PNG)</center>\n\n\n<center>![Captura10.PNG](https://steemitimages.com/DQmVjDqNkPyLxbSVqWk18a1RDxfhe6CdPN564DBaLbafaH8/Captura10.PNG)</center>\n\n\n<center>![Captura11.PNG](https://steemitimages.com/DQmUFp2wwJpRmpTGBLjvnApWZAG4iKSdzm5SgF8stHD9Mgy/Captura11.PNG)</center>\n\n\n\n\n<center>![captura1.PNG](https://steemitimages.com/DQmcEGxVMV7zQfpVNGoZy9X1GQjceKdR35oa4N4qtqd7GHj/captura1.PNG)</center>\n\n\n![](https://steemitimages.com/DQmePvpbPsx5abvqXannJPtSL142f5A8etgTcmQ8KynsDfA/image.png)\n\n\n<center>![picasion.com_13505092128b784fbeaa2437813c3ae6.gif](https://steemitimages.com/DQmRe85CdwWLzByuuiFFERXQbJyq2xHYRq4wZkDfLhEBFfV/picasion.com_13505092128b784fbeaa2437813c3ae6.gif)</center>\n\n### <center>¡Hasta un próximo post!<p>\n[SIGUEME AQUI/FOLLOW ME HERE](https://steemit.com/@dilanbello)</center>",
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      "permlink": "rompiendo-mi-perspectiva-exposicion-de-arte-cubista-del-siglo-xx",
      "title": "¿Rompiendo mi perspectiva? Exposición de arte Cubista del siglo XX.",
      "body": "<div class=pull-left>https://steemitimages.com/DQmPiTAojBCTQYNj1wu3nGL9KfFHybUf7kJn3cptieUDKoc/Captura9.PNG</div>\n\n\n\n\n*¡Hoolaa Steemians! Es todo un placer para mi entregarles una galería de fotos acerca del arte Cubista, que esta exhibido en nuestro muy querido Museo de Caracas.<p> Los Cubistas buscaban descomponer las formas naturales y presentarlas mediante figuras geométricas que fragmentaban las superficies y las líneas; esto se trata de un arte mental, es decir, que se desliga a la interpretación o la semejanza a la naturaleza. El arte cubista tiene muchas maneras de interpretarse, hasta el punto donde podría existir una ruptura conceptual de la realidad. <center>¿Pareidolia?*</center><p>\n\n<br><div class=\"text-justify\">El Cubismo, es uno de los movimientos mas importantes de las vanguardias artísticas (corrientes surgidas en Europa en las primeras décadas del siglo XX; y que luego se extendieron al resto de los continentes, especialmente hacia América) tenia como objetivo muy preciso romper con la percepción del pasado, que concebía el arte como una simple copia de la realidad, a través del uso de las perspectiva, el cálculo de las proporciones y las impresiones que se producían en la retina del ojo humano al contemplar una escena.<p>\n\nLa visión clásica del arte que perseguía obtener un «retrato» genuino del mundo, sería modificado a partir de 1905, por un profundo cuestionamiento de los cánones renacentistas, surgido entre muchos artistas de principios del *siglo XX*. Esta ruptura con las corrientes tradicionales, estuvo acompañada de una serie de innovaciones científicas como la Teoría especial de la relatividad de *Albert Einstein* y los logros tecnológicos como la invención de los automóviles y el ferrocarril, que contribuyeron a un desarrollo acelerado y a la sensibilazion social del arte que surgiría a raíz de la implementación de estos cambios sustanciales.<p>\n\nEsta tendencia tenía como precepto descomponer las formas en planos. Al quitarles profundidad. podían identificarse simultáneamente todas sus caras desde distintos ángulos, para intentar crear una cuarta dimensión, con el empleo de figuras geométricas como el cubo; allí su nombre. De esta manera, el artista representaba lo que pensaba de un objeto y no lo que veía, es decir buscaba trascender el proceso visual como fenómeno meramente biológico, para elaborar una interpretación que involucrara las ideas y la racionalidad. Los temas o motivos en la producción cubista era los mismos abordados durante el Renacimiento: la figura humana, el paisaje, las naturalezas muertas u objetos. Lo significativo y revolucionario de esta tendencia, fue su planteamiento revelador al lograr la descomposición total de las formas, hasta llegar a la abstracción.<p>\n\nPara la historia del arte, los movimientos artísticos vanguardistas son cruciales, al esbozar una nueva forma de creación con un alcance universal, que permitió al evolución discursiva hasta lograr expresiones cada vez más libres.Así el Cubismo, con sus representantes más conocidos, *Georges Braque y Pablo Picasso*, acompañado de aquellas corrientes que permitieron un salto hacia otros rumbos, encabezaron una verdadera innovación de el arte moderno, antes las formas tradicionales de captar la realidad.\nEl valor fundamental de cambio que valientemente desarrollaron las vanguardias,hasta influenciar de manera significativa al arte moderno.</div></br>\n\n\n<center>![Captura3.PNG](https://steemitimages.com/DQmSafTMQQzHuMoC87HRu5GgPKWNP32kzZwWwaMWDshtR4w/Captura3.PNG)</center>\n\n\n<center>![Captura4.PNG](https://steemitimages.com/DQmQnKBVnp2aA6CF3uDnuvRtfaYHYzNqL9M2rHsHvidyryc/Captura4.PNG)</center>\n\n\n<center>![Captura5.PNG](https://steemitimages.com/DQmeX5Zhhq36z76hJcpx2AUA3dkQtrqEM1LT6uEBKj5rASa/Captura5.PNG)</center>\n\n\n<center>![Captura6.PNG](https://steemitimages.com/DQmbH6TWA1TJVnvtZ9YaWbajAmiNWMMXeBMRLieLY9iVZ77/Captura6.PNG)</center>\n\n\n<center>![Captura7.PNG](https://steemitimages.com/DQmVQr5edqxrPjgme777K3YqnFyHxyFvVJvsbYLBhcfMix3/Captura7.PNG)</center>\n\n\n<center>![Captura8.PNG](https://steemitimages.com/DQmawBo6A1CFSwwGxLVFccyHLkaFfMbtD2kcu4tJVfd8oR3/Captura8.PNG)</center>\n\n<center>![captura2.PNG](https://steemitimages.com/DQmZk9wFnbttkJzJGt7R2FJW71wpmBcw2vAzE1Tc6GJsRC1/captura2.PNG)</center>\n\n\n<center>![Captura10.PNG](https://steemitimages.com/DQmVjDqNkPyLxbSVqWk18a1RDxfhe6CdPN564DBaLbafaH8/Captura10.PNG)</center>\n\n\n<center>![Captura11.PNG](https://steemitimages.com/DQmUFp2wwJpRmpTGBLjvnApWZAG4iKSdzm5SgF8stHD9Mgy/Captura11.PNG)</center>\n\n\n\n\n<center>![captura1.PNG](https://steemitimages.com/DQmcEGxVMV7zQfpVNGoZy9X1GQjceKdR35oa4N4qtqd7GHj/captura1.PNG)</center>\n\n\n![](https://steemitimages.com/DQmePvpbPsx5abvqXannJPtSL142f5A8etgTcmQ8KynsDfA/image.png)\n\n\n<center>![picasion.com_13505092128b784fbeaa2437813c3ae6.gif](https://steemitimages.com/DQmRe85CdwWLzByuuiFFERXQbJyq2xHYRq4wZkDfLhEBFfV/picasion.com_13505092128b784fbeaa2437813c3ae6.gif)</center>\n\n### <center>¡Hasta un próximo post!<p>\n[SIGUEME AQUI/FOLLOW ME HERE](https://steemit.com/@dilanbello)</center>",
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      "body": "Esta pelicula siempre la pasaban en HBO en horas de la noche y nunca podia terminar de verla completa, hasta que un dia perdi el sueño en la madrugada y da la casualidad que la estaban pasando y yo: \"Aja, por fin voy a ver que es lo que pasa en esta Isla\". Debe decir que cuando vi el final NUNCAA ME LO ESPERE, quede super impactado jajaja, vi la pelicula muchas veces, esa noche hasta no pude seguir durmiendo. ¡Buen post!",
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      "title": "Continente de lo imaginario: Colección de arte latinoamericano",
      "body": "@@ -1,43 +1,25 @@\n %3C\n-center%3E!%5Bimageedit_35_3181114170.png%5D(\n+div class=pull-left%3E\n http\n@@ -119,39 +119,360 @@\n .png\n-)\n %3C/\n-center%3E%0A%0A%0A\n+div%3E\n %0A%0A%0A%0A%0A\n-%0A\n ### %3C\n-center%3E\n+div class=%22text-justify%22%3EUn gran saludo a toda la comunidad de mi parte, ahora les preguntare %C2%BFLes gusta el arte?. Si la respuesta es si; pues este post te gustara. Me es un placer para mi presentarles una galer%C3%ADa fotogr%C3%A1fica de la expresi%C3%B3n art%C3%ADstica de todo un continente a lo largo del siglo XX... El continente Latinoamericano.%3Cp%3E%0A%0A\n Los \n@@ -1014,16 +1014,20 @@\n  corren.\n+%3Cp%3E%0A\n %0ACon est\n@@ -1064,16 +1064,17 @@\n osici%C3%B3n \n+%22\n Continen\n@@ -1092,16 +1092,17 @@\n aginario\n+%22\n . Colecc\n@@ -1268,22 +1268,19 @@\n lo XX.%3C/\n-center\n+div\n %3E%0A%0A!%5B%5D(h\n@@ -5058,16 +5058,24 @@\n ter%3E\n-%0A%0A%0A\n %3Cp%3E%0A%0A\n+%0A%0A%0A%3Ccenter%3E\n %5BS%C3%8DG\n@@ -5133,8 +5133,17 @@\n anbello)\n+%3C/center%3E\n",
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      "body": "<center>![imageedit_35_3181114170.png](https://steemitimages.com/DQmctp5bxEVJRVJS2rU9bjUFDkq8ZxZoPLQxYGUZiLRxMsQ/imageedit_35_3181114170.png)</center>\n\n\n\n\n\n\n\n\n### <center>Los procesos de análisis sobre las practicas artísticas proponen paradigmas renovados, en torno a las posibilidades interpretativas de un sistema visual que admite la pluralidad de expresiones, la heterogeneidad visual de rasgos,así como las alteridades múltiples alejado de las posturas tradicionales,establecidas por los discursos hegemónicos, el pensamiento critico contemporáneo fomenta posturas mas abiertas sobre la re-significación de los lenguajes plásticos, contextualizados a partir de una sensibilidad acorde con los tiempos que corren.\nCon esta finalidad se organizo la exposición Continente de lo imaginario. Colección de arte latinoamericano, que plantea una mirada por los diferentes movimientos, géneros y técnicas que se desarrollaron, principalmente, a lo largo del siglo XX.</center>\n\n![](https://steemitimages.com/DQmePvpbPsx5abvqXannJPtSL142f5A8etgTcmQ8KynsDfA/image.png)\n\n\n<center>![imageedit_1_9706285804.png](https://steemitimages.com/DQmRZfrAQSwupP34dhLriSKX2ofhJtmDXKmXW5J1zpTGHno/imageedit_1_9706285804.png)</center>\n>Penacho de plumas 1993.\nAcrílico sobre tela plegada con alfileres.\n\n\n\n\n<center>![imageedit_3_6105544067.png](https://steemitimages.com/DQmU9xQLsjjubevvsfDwQBCwV1kftc9JYv1ijrEaGTRVt8A/imageedit_3_6105544067.png)</center>\n>Estructura abstracta tubular 1937.\nMateriales diversos, (yeso coloreado con cola animal) sobre tela.\n\n\n\n\n<center>![imageedit_5_8786458577.png](https://steemitimages.com/DQmYhQYph5bpwwzW5xtuNh233qkM7fhD2DVuCuHfAjfY4p1/imageedit_5_8786458577.png)</center>\n>Cubo de Nylon, 1964.\nEnsamblaje con nylon, acrílico pintura acrovinilica, plomada y madera.\n\n\n\n\n<center>![imageedit_7_3207451518.png](https://steemitimages.com/DQmU21V5dW1a7z7MgUCa6sq1ekQt6kvDFF6cfVp5yvHMxPr/imageedit_7_3207451518.png)</center>\n\n>Sin titulo, 1972.\nÓleo sobre tela.\n\n\n\n\n<center>![imageedit_9_9579738885.png](https://steemitimages.com/DQmS6q6Yo8qmhMBzSEu77zykoEV9WSeSNofnkYjQ9Fdvjod/imageedit_9_9579738885.png)</center>\n\n>La mujer serpiente, 1900.\nZincografía \n\n\n<center>![imageedit_38_9566565781.png](https://steemitimages.com/DQmeZcW6bwkF8dN17RnUACroKZBiWzEaLLKoPu1ZBYh4dVy/imageedit_38_9566565781.png)</center>\n>Calaveras periodisticas 1910-13.\nGrabado en plomo a buril.\n\n<center>![imageedit_11_3400212623.png](https://steemitimages.com/DQmdcY5m2ctZYvuUTTQxR87BAotgeHVKbN6GpcbJLEqhc5H/imageedit_11_3400212623.png)</center>\n>Emilio Zapata, 1910-13.\nZincografía.\n\n\n\n\n<center>![imageedit_14_4768016096.png](https://steemitimages.com/DQmSnxhPHtjmQ2RQDq8gSybrGTF3mUi7PboNGHrbz2oySYL/imageedit_14_4768016096.png)</center>\n>El pájaro, 1900.\nPlata en gelatina y mixta.\n\n<center>![imageedit_36_8432578302.png](https://steemitimages.com/DQmRgVakqcvtwowQEuqwMSMampf8xqmGHCwYqP8Lz8sCW1T/imageedit_36_8432578302.png)</center>\n>Gallito del Caribe, 1953.\nÓleo sobre tela.\n\n\n<center>![imageedit_16_4881555330.png](https://steemitimages.com/DQmQDRD1xJ4C99fB3mkCK5K5jrceomvAj9tfMF4Wvgtyabo/imageedit_16_4881555330.png)</center>\n>Toussaint Louverture recibe la carta del primer Cónsul, 1945.\nÓleo sobre cartón piedra.\n\n<center>![imageedit_23_5580224163.png](https://steemitimages.com/DQmWobr9LLdgpRzjecoVzhfJUhyxgW57jCYwRmFVcv1rTAw/imageedit_23_5580224163.png)</center>\n>Español del siglo XVI, 1947.\nÓleo sobre cartón piedra.\n\n<center>![imageedit_25_3439013045.png](https://steemitimages.com/DQmWy1tUV8iDUoP4Ktbcrc7UGvsjC2U2M7r74Kf12E2JQWE/imageedit_25_3439013045.png)</center>\n>Bailarina en la noche, 1946.\nÓleo y materiales diversos sobre tela.\n\n<center>![imageedit_27_3120043545.png](https://steemitimages.com/DQmfUbXrK4cj4gKxj9eiLHteCFHsH4XxFEPBAwYKwwmoTa9/imageedit_27_3120043545.png)</center>\n> Sculture/Vulturel, 2010.\nBronce. \n\n\n\n<center>![imageedit_29_4131380889.png](https://steemitimages.com/DQmPb9om5J7jkJKuYbgP1CmJuTV18uGQaepGLZmT7LzEXNg/imageedit_29_4131380889.png)</center>\n>El poeta, 1968.\nÓleo sobre tela.\n\n\n\n<center>![imageedit_31_5166428107.png](https://steemitimages.com/DQmYW864nbZyGixdCGeh8kmAzhrsaja8YAsUKk1wBqEVPfS/imageedit_31_5166428107.png)</center>\n>Procesión de San Isidro, 1987.\nÓleo sobre tela.\n\n<center>![imageedit_33_3545128997.png](https://steemitimages.com/DQmTJfHigDE4ErYXDytbMhEWWuMJD9gZBV13Z87CWefDbWL/imageedit_33_3545128997.png)</center>\n>Bienaventurado, ca. 1979.\nÓleo sobre tela.\n\n![](https://steemitimages.com/DQmePvpbPsx5abvqXannJPtSL142f5A8etgTcmQ8KynsDfA/image.png)\n\n\n\n\n<center>![picasion.com_13505092128b784fbeaa2437813c3ae6.gif](https://steemitimages.com/DQmRe85CdwWLzByuuiFFERXQbJyq2xHYRq4wZkDfLhEBFfV/picasion.com_13505092128b784fbeaa2437813c3ae6.gif)</center>\n\n# <center>¡Hasta un próximo post Steemians!</center>\n\n\n<p>\n\n[SÍGUEME AQUÍ /FOLLOW ME HERE](https://steemit.com/@dilanbello)",
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      "permlink": "sin-cordero-de-dios-aproximacion-a-una-poetica-de-la-muerte",
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      "body": "<center>![Sin títulomm.png](https://steemitimages.com/DQmXpvgBXVsAQzUeLU44VksGY6XsnGUXRpyjbeXDg78szds/Sin%20t%C3%ADtulomm.png)</center>\n\n<center> ***La obra de Eduardo Azuaje revela un interés por las dimensiones insospechadas de la muerte, entendida como una consecuencia directa de la violencia en sus diversos estados, naturalezas y manifestaciones en las sociedades contemporáneas. La muerte ha sido materia de escudo y preocupación del hombre desde el mismo momento que ha tenido conciencia de su existencia, de comprender que la extinción forma parte de la condición humana, de que a todas las épocas bajo sus respectivas concepciones filosóficas expresadas con lenguajes y modalidades diferentes, lo que ha generado una serie de códigos y modelos de representación dados por la historia.***\n\n\n***En esta ocasión el artista plantea una revisión a nivel formal y conceptual donde las ideas , valores y sentimientos, influenciados por el contexto inmediato, impulsado por los cambios de registros con respecto a sus desarrollos plásticos anteriores.\nEstos procesos se se fundamentan tanto en la emoción como en la aplicación del conocimiento, la razón y relaciones que evocan la contradictoria mentalidad romántica.</center>***\n\n<center>***Azuaje se adentra en las estepas de su Pariaguan natal en busca de huesos de animales —ejemplares muertos de forma natural o por la intervención del hombre, que el tiempo ha despojado de impurezas— para relatar una historia que va de lo particular a lo general.***\n\n***En estas practicas demuestra las habilidades del recolector coleccionista, pero también las del creador— escultor—  capaz de transformar un cumulo de desechos orgánicos en obra de arte.\nConstruye una anatomía humana , provista en una aparente \"musculatura desollada\", con un tejido de huesos engranados dentro de un sistema que, aunque internamente puede resultar aleatorio, describe un orden estructural que lo transfigura en una experiencia estética.\nEn esta suerte de arqueología artística la materia es fundamental para la creación del objeto y en ese proceso adquiere una re-significación que le otorga otros contenidos y símbolos permitiendole una \"nueva existencia.\"\nHueso a hueso el artista concibe una figura colosal \"fragmentada e incompleta\" a la que faltan un brazo y una pierna, fragmentos que comparten origen y propósito, se encajan y complementan dentro del todo. Esta concepción fragmentaria quiebra el discurso literal y la visión global y totalitaria de las verdades heredadas de la tradición moderna.  En el proyecto las partes abundan en varios actores bíblicos, que se va fusionando en el gran personaje del relato, un fenómeno que en su comprensión mas amplia se entiende, una representación del cuerpo social. Los apóstoles son por analogía, una extensión de todos los Pedros, Juanes y Pablos del mundo, victimas de una cultura terrorífica donde el riesgo , la amenaza y el miedo son partes del escenario cotidiano. Al respecto, nuestro autor asume una actitud critica para rechazar la inhumanidad del hombre hacia sus semejantes en un mundo dominado por la sin razón y ademas intenta visibilizar un problema que en el contexto local deja anualmente una estela de muertes, absurdas e inesperadas, producto de una violencia que tiene en el hampa común sin vertiente mas poderosa.\nAzuaje no describe los procesos de inducen a este tipo de realidades, pero si sus consecuencias; lo hace con una gran instalación compuesta por registros audiovisuales y un conjunto escultórico de apariencia monstruosa, piezas inquietantes y provocadoras que revelan el lado destructivo de la naturaleza humana y sugieren, sentimientos violentos de gran intensidad dramática: la pieza se erige en un aparato capaz de aplanar todo a su paso; el brazo extraviado parece tantear un camino mas allá del mal; mientras la cabeza nos acusan con sus \"miradas\", oscuras y profundas, que brotan de las extrañas concavidades oculares.</center>*** \n\n<center>***El tratamiento informal de la materia subraya la fuerza expresiva dadas , a partir de las calidades textuales. Hay un claro dominio de la composición —estructuras internas que calman el objeto dentro de un ambiente controlado—.\nA parir de estas consideraciones, el artista plantea una relación dialogico entre la realidad y la apariencia, el fragmento y el \"todo\", el orden y el caos, sin domeñar un aspecto en función del otro porque cada binario actúa como vasos comunicantes para mantener el equilibrio. Y bajo estas coordenadas explora las posibilidades expresivas y representativas de la figura— al margen de la concordancia de forma y contenido— en el terreno de la hibridación, la fragmentación y la simulación, propuestas ancladas en el pensamiento post-moderno. Desde este enfoque, el hecho creativo queda signado por los presupuestos teóricos y las practicas vanguardistas arriesgadas que trascienden el formalismo plástico para ofrecer nuevas estrategias visuales y discursivas.</center>***\n\n<center>***Sin cordero de Dios es el resultado de una investigación compleja, inteligente y profunda donde el cuerpo es objeto y referencia del discurso visual, pero al mismo tiempo símbolo de la violencia , de la destrucción y de la muerte. Aquí os presento las imágenes de un sujeto fragmentado, bajo el signo de la osamenta, son una metáfora de la imposibilidad de salvación frente al mal; el memento mori como\" representación del inevitable final de todas las cosas terrenales\".\nEn este proyecto Azuaje prueba una eficiencia estética y discursiva, impregnada del carácter polisemico y polimorfo del arte contemporáneo, para aproximarse a una poética personal de la muerte.</center>***\n\n\n![](https://steemitimages.com/DQmcjDz6aNwtP7jgPidsMzVj1RhetkFWyif9Gdc27QE54hq/image.png)\n\n![SAM_0042.JPG](https://steemitimages.com/DQmYDfMrmoamEqMz8ATe3R8UoYYYhhXLYHJbu5rr2Av3VHC/SAM_0042.JPG)\n\n\n\n\n\n\n![SAM_0025.JPG](https://steemitimages.com/DQmV1W8V6EYVq6tmWJaVNYPbEXevq39dSEDcFYu6eb36jx5/SAM_0025.JPG)\n\n\n\n\n![SAM_0034.JPG](https://steemitimages.com/DQmV4MaCN1sRdmFZRKxrtkESckuDhnK1gHrAMkxjCTi5fkm/SAM_0034.JPG)\n\n\n\n\n![SAM_0038.JPG](https://steemitimages.com/DQmefHgFRA5FCdF8S7HPj43EqHgsctx8qnvtR5tf5pQW7CV/SAM_0038.JPG)\n\n\n\n![SAM_0041.JPG](https://steemitimages.com/DQmNR2K2KYxNGHymzgZkaymY3mZDMz4HyZF17rsNogDBYyu/SAM_0041.JPG)\n\n![SAM_0016.JPG](https://steemitimages.com/DQmSbtSDYSSk2usBraur1SKhj7fQh5LzMiMtjU797afiaVU/SAM_0016.JPG)\n\n![SAM_0054.JPG](https://steemitimages.com/DQmVvk2cC4btpubwXSa4Qi8qmDiXgMStLh17joWyE6cLjZd/SAM_0054.JPG)\n\n\n\n\n\n![SAM_0059.JPG](https://steemitimages.com/DQmaqEWYnKBXcnwh9U8i9CjYvdC598scCip1ncssHwzCsS8/SAM_0059.JPG)\n\n\nhttps://steemitimages.com/DQmeFBXVEjFzCa9DEEfdCKp9METFfm7eoErAUkjRPHkGQJJ/SAM_0043.JPG\n\n\n\n![](https://steemitimages.com/DQmcjDz6aNwtP7jgPidsMzVj1RhetkFWyif9Gdc27QE54hq/image.png)\n\n\n![picasion.com_7ddb481cba811405d575e9b2d1d2fae8.gif](https://steemitimages.com/DQmXiXbPdqrx3Zz1iGYFhG3Uppuia8kkpMLVoZLcrrAHg2E/picasion.com_7ddb481cba811405d575e9b2d1d2fae8.gif)",
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