Iñaki Domingo

Untitled, from the series ‘Color Vaciado’

2019

Inkjet Print on Archival Paper, Lacquered Wooden Frame and Plexiglass

Edition 1/5 + 2 P.A.

Dyptich, 62 x 84 cms (62 x 42 cms each)

"We have talked and written a lot in these months, much more than too much. So much, that we have almost finished the language off by striving to twist and strain it without compassion, until we got it to say exactly what we wanted to say at every turn. Kilometers of words, liters of ink and saliva and lighted screens have predominated... during the confinement we have needed to assert our opinions more than ever, even to the point of making them more important than the very subjects they dealt with; here the question was to express oneself. If we have not come to employ all the formulas and configurations offered by the practically unembraceable combinatorics of language, in order to dress our truths with words, we have remained close. We have mistreated it a lot during this time, poor thing, and  it has been exhausted. It is practically clinging to the last thread of life, as if to say, so we should keep an eye on it.

Let’s see, I don’t know... I believe that an instrument of this importance deserves our unfailing loyalty, that we look after it and preserve it with care, that we show the will to comply with its rules of use and that we accept certain limits in pursuit of a collective benefit, which is none other than to fulfil the mission of being the indispensable vehicle for communication. It's no small thing. But it also happens that language is an organism as wonderfully rich and complex as it is delicate, and it requires some attention. We cannot go around vilifying it in any way and then wait to meet it there, in the same place, as if nothing had happened. It happens to it as it does to every other living thing who suffers, begins to show signs of weakness and ends up being dysfunctional. It is not difficult to imagine the contemporary Tower of Babel that we would become, the night so deep into which we would sink, if we did not even have the possibility of language to understand each other.

So now that it seems that we have said all that we had to say, that we have raised our voices before every audience and have dispatched ourselves at ease, perhaps it is time to stop again. Yes, just now, again, but this time to finally reconcile ourselves with our silence and thus learn to live with it definitively, precisely in order to, through it, get used to using language with a greater sense of moderation and temperance."

'Poor language', Iñaki Domingo

About the series

In this project, the artist focuses his attention on the behaviour of colour in images and how they relate to each other depending on the medium and the context in which we observe them.

What happens when we take a colour photograph of a monochromatic space? We get a monochrome looking image, but when we look at it in detail we confirm that they contain small shades of color, which do not come from the photographed space but by the device used to represent it. And then, when that image is printed, framed, exposed, how is our perception of its colour (and ultimately of the image itself) as these processes take place?

Following Josef Albers’s approach —who stated that colour is the most relative medium with which the artist works— it is possible to say that colour is constantly affected by external agents that make it unstable and cause it to be in a state of constant fluctuation, which makes its appreciation or reliable reproduction practically impossible.

About the series

In this project, the artist focuses his attention on the behaviour of colour in images and how they relate to each other depending on the medium and the context in which we observe them.

What happens when we take a colour photograph of a monochromatic space? We get a monochrome looking image, but when we look at it in detail we confirm that they contain small shades of color, which do not come from the photographed space but by the device used to represent it. And then, when that image is printed, framed, exposed, how is our perception of its colour (and ultimately of the image itself) as these processes take place?

Following Josef Albers’s approach —who stated that colour is the most relative medium with which the artist works— it is possible to say that colour is constantly affected by external agents that make it unstable and cause it to be in a state of constant fluctuation, which makes its appreciation or reliable reproduction practically impossible.

Iñaki Domingo

Iñaki Domingo (Madrid, 1978)

Iñaki Domingo (Madrid, 1978) is a visual artist. From an abstract approach, his work studies the behaviour of the mechanisms of visual perception and focuses on the relationship between the gaze and the representation of reality.

He has had numerous individual and group exhibitions in museums, art centres and galleries in Spain and abroad, and his work is part of public and private collections.

He is co-founder of the studio Altura Projects, in which he develops his artistic projects. In addition, from this platform he collaborates independently with institutions and public and private entities for which he carries out curatorial and publishing projects and develops work as a teacher.