Darha: Paco Sánchez 2010-2022

1 March - 10 May 2024

Darha

Paco Sánchez, 2010-2022

ATC Gallery | March 1st - May 10th, 2024

We are located in a changing context, full of social uncertainties, with societies that, like tides, slow down and awaken as the forces of the most influential stars interact. News of tragedies are intermingled with pleasant and joyful events in confusing, unpleasant, cold, and dehumanized ways. The culture of morbid curiosity to know the secret and the invasion of advertising in our moments of rest. Fortunately, there are worlds like those created by Paco Sánchez, which disconnect us from reality but do not alienate us from it; he presents it to us in versions that combine social criticism with Canarian beauty and aesthetics, with our aboriginal roots and a culture of warmth and respect, love for our traditions and customs, nature, and landscapes.

Thus, Darha encourages us to the exaltation of beauty and spirit, to connect with the vital energy that permeates the universe and matter (DHEAI, 2011)*. A selection of coherently chosen small-format works spanning over a decade of work is presented. Pieces that attest to how persistent Paco Sánchez is, a tireless producer, except during periods when health prevented him from getting out of bed. His inner world, instead of fading, becomes full, crying out to be released and captured on his canvases.

Although the political critique is more subtle, it is present; claims that never cease, in a non-invasive way, unlike current media, giving the viewer great freedom of interpretation; an equilibrium between critique and beauty is noticeable in these works, or, rather, an uplifting through the enhancement of the beauty of the purest and most romantic Canarian landscapes and culture. Any change or project that threatens this beauty is always criticized by the work of this Canarian indigenist artist.

Once again, Paco Sánchez invites us to experience aesthetics that do not disappoint, fresh, stimulating the senses in always unexpected ways, showing some of the works from his personal collection. It is proposed that this work be enjoyed from a philosophical and psychoanalytical point of view, according to Lacan's Freudian aesthetic visions, trying to revel in his works by involving the real of the drive.

The work as a beautiful object ceases to make sense, as the object becomes a frame towards another empty space, re-dimensioned by those floating elements full of light and strength. But for this to happen, we must momentarily switch off any connection with the world, and allow ourselves to be sublimated in the intimacy of measured distance; this is how time stops. That frame, far from being mutilating, awakens the desire to look into it, to see what is hidden inside; to step one leg in and then the other, to enter and begin to feel the weightlessness, perhaps even having the luck to feel its Macaronesian and Atlantic perfume. Upon leaving, the value of the object has changed, the work acquires a magical symbolism that makes it desirable, it is das Dingthat can be contemplated in secret.

Back to reality, lighter, relieved, and free, ready to face it again and try to influence it, to improve it.

Fayna Sánchez Santana, 2024