Carlos Aznar abounds in the germinal idea of the pulse as a generator of stories, of orographies, of sensualities and other realities, thus posing a fascinating pretext for the viewer, from the forms and color, to find the springs of his own story. A story designed for and by contemplation that redirects looks and emotions and does it from a perfect knowledge of the plastic language where the digital multiplies emotions thanks to the movement and a very personal color palette. A return to the contemplative act to perhaps compensate for the uneasiness generated by contemporary hyperstimulation.
His references, mythological, historical, or artistic, form an absolutely singular language. In Aznar’s own words, for him his concept is quite similar to Rothko’s, understanding the format as a space rather than as a surface, the place where the impulse takes place. The fruit of the gesture is born in the permanent listening of stimuli, of the polymorphous location of the gaze and this is not found in a precise moment or place, but is constructed in a particular mental universe.