Al Final del OtoñoSold

An igneous glow dominates this panoramic two-and-a-half-meter format, where pictorial matter seems to dissolve in sheer combustion. Sidhartta Mejía dispenses with explicit vegetal outlines to construct the forest out of its thermal footprint: two large flanking masses of fiery crimson and garnet frame a central void burning in golden yellows and ochres suspended in mist.

The epoxy acrylic technique grants the surface an almost geological depth. Its vitreous layers allow ambient light to physically penetrate the resinous strata and bounce back from within, endowing the painting with an internal luminescence that defies stillness. Beneath that dense, smoky atmosphere, a lower ground of moss greens, earths, and bruised violets anchors the vision and suggests the dampness of decaying undergrowth, counterbalancing the scorching warmth above.

At the very heart of the painting, where the incandescence reaches its blind spot, faint vertical and broken incisions scratch the pigment. They never coalesce into defined trunks or precise branches; rather, they function as splinters or ribs holding the tension between the complete dissolution of space and the lingering memory of a grove.

The end of the season does not appear here as mere mournful decay, but as a sensory apotheosis. The foliage does not fall: it evaporates into radiant energy, capturing that precise threshold where landscape ceases to be a physical territory and turns into a state of absolute absorption, wholly consumed by visual heat.