Existimos, luego pensamos

The immaculate white of the petals does not seek placidity, but rather a frontal tension against time. A cluster of carnations ascends in the foreground with an almost sculptural clarity, unfurling an exacting botany where every green calyx, every closed bud, and every ruffled edge responds to a serene yet incisive light. At this monumental scale of 120 by 100 centimeters, the flower ceases to be a domestic motif and turns into an unavoidable physical presence.

Beneath this botanical polish, the background operates like a wall eroded by history. The surface accumulates earthy glazes, smudges of muted crimson, and typographic fragments that surface and sink into the matter. Legible phrases such as "Existimos, luego pensamos" and references to the danger of normalizing the everyday act as strata of a collective or intimate memory. The handling here is rough, dry, and fragmented, creating a direct antagonism with the fluid, polished modeling of the corollas.

This inversion of the Cartesian axiom that names the canvas places bodily experience above abstract reason: the flower embodies existence prior to any discourse. While the printed text ages and dissolves into the texture of the ground, the white carnation surges forth with the urgency of the living moment. There is no submissive fragility in its stems, but rather a vigorous rigidity that cuts across the visual plane from bottom to top, asserting the biological fact of being here against the wear of intellect.

The gaze oscillates between the silence of the luminous white and the muffled noise of words scraped against the canvas. The carnation, historically fraught with funerary, ritual, or passionate associations, appears stripped of mournful ornamentation to affirm a tenacious vital drive, anchored in the density of a painting that dares to confront organic purity with the rough sediment of the world.