JAVIER BALDA. MAIZTASUNAK-FRECUENCIAS-2018 Javier Balda -FRECUENCIAS | Page 84

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The cut-and-paste procedure represents a personal settling of scores be-
tween the excess of formalisation and consumed images that need to be
retraced and sometimes forgotten, and the hint of a recurring memory of
forms. When what we know ceases to be valid and something new or dif-
ferent hasn’t yet become established, the consequence of “still not having a
language for our ignorance”, as Gombrowicz described it. Works in which
outlines of a future form of archaeology can be recognised.
This expectant, sceptical attitude results in the appropriation of photography and painting, as unaffiliated
remains in a clash of codes that, with genuine pleasure in their manipulation and execution, clear the way
for a whole series of layers and residue that combine new syncopated timeless spaces and meanings, without
the conventional values of the “moment frozen in time” or the density of painting.
The fragments and cuttings of these collages also involve a kinetic dynamic effect, which is shifted to
recorded moving images like the action of walking and being transported in urban structures and routes.
Shots of repeated, decontextualized movements, that on being shown on adjacent screens generate a visual
field of random frequencies and relations, and create a node of links that are interrupted and intercut on this
ever-changing path, a continuum of abstract displacement, with a certain amount of hypnotic, anti-realist
elements.
Most of an artist’s ideas come from a previous period. “There are no new ideas that come out of nothing.
Sometimes they seem to be new, but they are usually a vision of something that is there beforehand”, Frank
Stella recalls. Between this vision of what broke away before and the stimulus provided by this search, the
melancholy repetition of what hasn’t been done and what wanted to be slips through, and in this process
the artist now, unconsciously, merely attempts to reconstruct something from his past.