Last May Sixe Paredes participated in “Truck Art Project” and painted one of the 100 trucks that served as support for different artists of the contemporary scene, such as Abraham Lacalle, Suso 33, Javier Arce, San Miguel Okuda and Felipe Pantone.
With the goal of bringing contemporary art to people who live in places that are far away from conventional forms of dissemination, these trucks carry out their usual commercial routes throughout the Spanish territory.
The project, promoted by entrepreneur and collector Jaime Colsa and curated by Óscar Sanz, was also presented at the last edition of the Contemporary Art Fair ARCO in two aspects: Contemporary Art and Urban Art.
Given the great public impact that large format artworks in movement can generate, this time Sixe decided to link his personal project to a series of his entitled “Abstraction Númerica”. This turned the focus of his participation on the current issue of political, economic and social crisis. Here are some videos that reflect the development of the project, and the “Numerical Abstraction” text.
In “Numerical Abstraction”, Sixe dives into the world of numbers. Using them as symbols to talk about the economic crisis, but also observing them and how they relate to and connect with ancestral cultures and a mystical drive.
In these works, the artist explores the ontological and functional structure of the number in a personal way. The essence of the number is characterized, in fact, by its peculiar dichotomy: to be an entity of its own special to human beings, or to be completely unconnected.
Sixe investigated this same theme before in his series “Crisis” presented in Arco 2012. Now he continues to build a broad criticism as a consequence of a process of socio-economic adaptation.
Without a doubt, the capitalist-liberal system in which we live ends up turning us into numbers. Everything that participates in it, including us, is regulated according to its “exchange value” and each individual relates to society as part of a statistical mechanism.
Man, deprived of his essence, reduced to a market study, becomes “number”; he no longer relates to a specific environment but, bombarded by information that “abstracts its reality”, he is alienated.
On the other hand, the Number is born as something strongly linked and intrinsic to the human being, particularly in reference to its capacity to rationalize, to its practical and even more religious needs.
Different types of arithmetic were created according to different cultures and civilizations. There are systems known that used the 5, 10 or 20 as a base, clearly due to the fact that they were counting with their fingers, and others with bases 12 and 60 developed by civilizations that needed to measure the seasons and cycles of nature. The use of “zero” as a number was also something very peculiar at first, found exclusively in the Indian, Inca and Mayan cultures, which arose mainly through philosophical and religious concepts.
However, in its primitive duality, the number does not include only arithmetic but also numerology and a captivating mystical attitude. As in his previous work, Sixe also uses this series to draw attention to his intimate connection with the Andean tradition – a tradition where, thanks to mathematics, the human being is in deeper connection with the cosmological reality. The Quechuas, in fact, thought of mathematics as a tool to achieve a universal totality, that is, an absolute language that allows us to unify with the cosmos (*).
Approaching a work of symbolic prevalence, Sixe thus captures in his work the beauty of the number and its mystery. By way of digital cables, for years the artist has also used series of numbers (in which the predominant numbers are the odd numbers from 1 to 9), symbols and geometric shapes, to generate automatic writings that reveal encrypted codes in the form of encrypted messages that are lost in time. A visual language that the artist takes on deliberately in this last series, where he also faces other issues strictly connected to numbers, such as cryptography and the “Numbers Stations”.
Texto: Sandy Fiocchetti
(*)cfr. “3-cerro y 4-mundo. Los números del banquete en las ofrendas quechuas“, David Lorente Fernández. ANTHROPOLOGICA/AÑO XXVIII, Nº 28, págs. 163-190, 2011