Description

Written by Carlos Almeida (on “Perpetual Movement”)

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Congratulations on this magnificent work, Alberto.

Motivated by your piece’s incredible beauty and its different scenic elements introduced in the mouth of the stage, I feel intellectually invited to make a personal incursion into this perpetual motion theme, which is undoubtedly a very appealing theme.

When entering this picture, we can sense the perpetual movement that breathes from the great dialectical relationship of the eternal return, as a cycle of permanent alternation of forces complementing each other in their diversity. The masterpiece of art has elements that go beyond this simple energetic binary and raise other ramblings.

At first glance, it may seem that there is some philosophical antagonism between some artificial forms formulate by human beings and the side of the Universe that forces all conditions to govern.

Through the world of curvatures, starting with the smallest part of matter: the atom, which supposedly assumes a rounded, if not spherical, configuration, passing through the planets until ending up in the centrifugal form of the expansion of the universes, in the form of spirals that evolve through the Cosmos: Cosmos, for which light and dark, up and down, Yin and Yang, good and evil, do not exist as they are scales of perception uniquely created by human beings.

Since the Universe is a curved object, straight lines will only be possible in the theoretical field. Since the atom is the primordial element of matter and has a curved structure, it is impossible to build any perfect straight line. Its essence is divergent and cannot alter its curved nature. Thus, the introduction of specific and quadrangular elements in this work suggests a broader approach to the concept of movement:

The square is the ultimate symbol of the universal movement and evolution system. The quadrangle is, from the formal point of view, a static form; maybe the most static form that we were able to produce, and for this reason, consider that the antithesis of movement and the “natural world,” assuming, through its geometric structure, the condition of a maximum element of artificiality.

Nevertheless, let’s consider this shape as a product of the evolution of the Universe’s intelligence channeled through the human being.

We can consider the square as a perfect derivative of the perpetual revolutionary movement of the spirit, that energetic vector that is thought, which enables the creation of abstract mathematical reasons, transforming them into numerical expressions or a straight line.

A straight segment and configuring this straight segment with others lead to the creation of absolutely “artificial” geometric shapes like the square, thus creating for the world new immaterial features.

However, all artificiality is an intrinsically natural product since it is itself, a genuine attribute of nature itself revealed and exercised by human beings in their existential demand.

In addition, we could then easily conclude that the square we can see as the ultimate expression of movement, not in the merely physical sense, as a product of space/time/matter relationship, but to contextualize this movement in perspective evolution.

Transmutation of the spirit goes far beyond the physical activity of matter and dives into the deep and complex plasticity and continuous action of human nature, making universes swirl in their compulsive search and unveiling of the mysteries of the world.