{"id":2829,"date":"2026-01-19T18:04:15","date_gmt":"2026-01-19T18:04:15","guid":{"rendered":"https:\/\/tomassalazar.art\/?page_id=2829"},"modified":"2026-01-19T19:06:15","modified_gmt":"2026-01-19T19:06:15","slug":"becoming-painting-and-the-power-of-the-image-contemplation-evocation-vertigo-serenity","status":"publish","type":"page","link":"https:\/\/tomassalazar.art\/es\/writings\/becoming-painting-and-the-power-of-the-image-contemplation-evocation-vertigo-serenity\/","title":{"rendered":"&quot;Becoming Painting and the Power of the Image: Contemplation, Evocation, Vertigo, Serenity&quot;"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"2829\" class=\"elementor elementor-2829\" data-elementor-settings=\"{&quot;ha_cmc_init_switcher&quot;:&quot;no&quot;}\">\n\t\t\t\t<div class=\"elementor-element elementor-element-51d95cc5 e-flex e-con-boxed wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-equal-height-no e-con e-parent\" 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class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"http:\/\/tomassalazar.art\/es\/\">\n\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"752\" height=\"131\" src=\"https:\/\/tomassalazar.art\/wp-content\/uploads\/2024\/11\/logo-new-1.webp\" class=\"attachment-full size-full wp-image-2379\" alt=\"\" srcset=\"https:\/\/tomassalazar.art\/wp-content\/uploads\/2024\/11\/logo-new-1.webp 752w, https:\/\/tomassalazar.art\/wp-content\/uploads\/2024\/11\/logo-new-1-300x52.webp 300w, https:\/\/tomassalazar.art\/wp-content\/uploads\/2024\/11\/logo-new-1-18x3.webp 18w\" sizes=\"(max-width: 752px) 100vw, 752px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-aae782a elementor-widget elementor-widget-ucaddon_fullscreen_navigation_menu\" data-id=\"aae782a\" data-element_type=\"widget\" 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decoding=\"async\" width=\"1024\" height=\"834\" src=\"https:\/\/tomassalazar.art\/wp-content\/uploads\/2026\/01\/569018229_18375862048145639_5196344472863553077_n-1024x834.jpg\" class=\"attachment-large size-large wp-image-2833\" alt=\"\" srcset=\"https:\/\/tomassalazar.art\/wp-content\/uploads\/2026\/01\/569018229_18375862048145639_5196344472863553077_n-1024x834.jpg 1024w, https:\/\/tomassalazar.art\/wp-content\/uploads\/2026\/01\/569018229_18375862048145639_5196344472863553077_n-300x244.jpg 300w, https:\/\/tomassalazar.art\/wp-content\/uploads\/2026\/01\/569018229_18375862048145639_5196344472863553077_n-768x626.jpg 768w, https:\/\/tomassalazar.art\/wp-content\/uploads\/2026\/01\/569018229_18375862048145639_5196344472863553077_n-15x12.jpg 15w, https:\/\/tomassalazar.art\/wp-content\/uploads\/2026\/01\/569018229_18375862048145639_5196344472863553077_n.jpg 1440w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-58d98db e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-equal-height-no e-con e-child\" data-id=\"58d98db\" data-element_type=\"container\" data-settings=\"{&quot;_ha_eqh_enable&quot;:false}\">\n\t\t<div class=\"elementor-element elementor-element-09c3e95 e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-equal-height-no e-con e-child\" data-id=\"09c3e95\" data-element_type=\"container\" data-settings=\"{&quot;_ha_eqh_enable&quot;:false}\">\n\t\t\t\t<div class=\"elementor-element elementor-element-6f3a8d0 elementor-widget elementor-widget-heading\" data-id=\"6f3a8d0\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h1 class=\"elementor-heading-title elementor-size-default\">\"Devenir pintura y el poder de la imagen: contemplaci\u00f3n, evocaci\u00f3n, v\u00e9rtigo, serenidad\"<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-92cb397 elementor-widget elementor-widget-heading\" data-id=\"92cb397\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<p class=\"elementor-heading-title elementor-size-default\">Por Fernando Rojo Betancur<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-67cc5d3 elementor-widget elementor-widget-heading\" data-id=\"67cc5d3\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<p class=\"elementor-heading-title elementor-size-default\">Enero 2, 2026<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-86d6dea e-con-full e-flex wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-equal-height-no e-con e-child\" data-id=\"86d6dea\" data-element_type=\"container\" data-settings=\"{&quot;_ha_eqh_enable&quot;:false}\">\n\t\t\t\t<div class=\"elementor-element elementor-element-0744af5 elementor-widget elementor-widget-text-editor\" data-id=\"0744af5\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p data-start=\"412\" data-end=\"1030\">El arte de los j\u00f3venes artistas emergentes hoy posee esa frescura de quijotismo, de contemplaci\u00f3n enso\u00f1ada y de ese intersticio entre el sue\u00f1o y la vigilia, entre lo imaginario y lo real, en una alquimia o crisol de estilos y movimientos como el expresionismo, la nueva figuraci\u00f3n, la abstracci\u00f3n (l\u00edrica y geom\u00e9trica), el surrealismo, el action painting y la pintura y el dibujo gestual. De este modo, se configura un lenguaje pl\u00e1stico que articula libremente estos lenguajes a trav\u00e9s de nuevos medios y soportes dentro del universo de las nuevas tecnolog\u00edas (en un mundo digital de exceso y saturaci\u00f3n de im\u00e1genes e iconograf\u00edas).<\/p>\n<p data-start=\"1032\" data-end=\"1480\">Despu\u00e9s del declive de las vanguardias, del arte moderno y de los desarrollos pl\u00e1sticos de la posmodernidad, los artistas enfrentan el desaf\u00edo de reinventar el arte, aun cuando parezca ut\u00f3pico, aplicando y reinterpretando fuerzas est\u00e9ticas y sem\u00e1nticas. Esto es posible porque poseen el bagaje hist\u00f3rico de las im\u00e1genes en retrospectiva, con pleno acceso al pasado o a la tradici\u00f3n de la pintura a trav\u00e9s de la informaci\u00f3n contenida en libros, publicaciones o enciclopedias.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">Adem\u00e1s, pueden releer la historia y la historiograf\u00eda del arte o su est\u00e9tica no solo en museos, galer\u00edas o colecciones, sino tambi\u00e9n a trav\u00e9s de Internet, plataformas y medios masivos en la era de la Revoluci\u00f3n Digital. Todo ello se va condensando gradualmente en su cultura visual.<\/span><\/p>\n<p data-start=\"1771\" data-end=\"2208\">La obra de Tom\u00e1s Salazar presenta esta especulaci\u00f3n sobre la condici\u00f3n humana, en contraste con las experiencias vitales, lo metaf\u00edsico y lo trascendente. Tambi\u00e9n se nutre de la academia y la experimentaci\u00f3n, de la libertad, la innovaci\u00f3n y la expresividad. No debe olvidarse que su generaci\u00f3n es televisual, habiendo crecido bajo la influencia y el impacto del cine, el dise\u00f1o, la publicidad, la literatura, la televisi\u00f3n y el auge de Internet.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">Todos estos elementos dan lugar a estilos visuales ecl\u00e9cticos, y dentro de este contexto surge tambi\u00e9n otra posibilidad: la dificultad o el riesgo de etiquetar a un artista que puede ser camale\u00f3nico y dedicarse a explorar simult\u00e1neamente, o dentro de sus procesos, m\u00faltiples medios expresivos o g\u00e9neros del arte contempor\u00e1neo, como la performance, la instalaci\u00f3n, la pintura gestual, el dibujo expandido, el videoarte, etc.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">Sin embargo, Tom\u00e1s, m\u00e1s all\u00e1 de modas o tendencias, contin\u00faa apostando por la pintura como medio y soporte comunicativo, sin dejar de confrontar la realidad y su propio mundo interior \u2014neobarroco, dram\u00e1tico, emocional, fragmentado, rico y sugerente\u2014. Su compromiso con el arte denota y connota una b\u00fasqueda ontol\u00f3gica, un sustrato existencial.<\/span><\/p>\n<p data-start=\"2948\" data-end=\"3223\">Tom\u00e1s no abandona el rigor de una visi\u00f3n casi asc\u00e9tica de la pintura, ni el compromiso con el oficio del pintor, con la constancia y la disciplina en el dibujo y el gesto pict\u00f3rico, nutridos d\u00eda a d\u00eda a trav\u00e9s de la pr\u00e1ctica, el trabajo de laboratorio y la experimentaci\u00f3n acad\u00e9mica o personal.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">Por lo tanto, su proceso pl\u00e1stico, pict\u00f3rico y art\u00edstico no es un nihilismo juvenil ni una rebeli\u00f3n existencial o idealista sin causa; es un compromiso con su identidad como artista, que comprende profundamente el poder de enunciaci\u00f3n de la imagen en contraste con la palabra.<\/span><\/p>\n<p data-start=\"3508\" data-end=\"3513\"><span style=\"font-style: inherit; font-weight: inherit;\">La pintura y la ilustraci\u00f3n son lenguajes polis\u00e9micos, din\u00e1micos y expresivos, con m\u00faltiples posibilidades sem\u00e1nticas y comunicativas. Son lenguajes que permiten el autoconocimiento m\u00e1s all\u00e1 de la mera creatividad, la virtuosidad, el talento innato o el dominio de t\u00e9cnicas art\u00edsticas puristas o tradicionales. En su obra hay control, conciencia de lo que se hace, principios y fuerzas vitales, fuerzas tel\u00faricas, cargas ontol\u00f3gicas y sustratos de lo humano y lo trascendente.<\/span><\/p>\n<p data-start=\"3972\" data-end=\"4410\">La met\u00e1fora (basada en la semejanza) y la metonimia (basada en una relaci\u00f3n de contig\u00fcidad: causa\u2013efecto \/ parte\u2013todo) en la imagen son figuras ret\u00f3ricas que tambi\u00e9n funcionan como recursos sem\u00e1nticos, permitiendo al artista ir m\u00e1s all\u00e1 de la imagen figurativa meramente literal o mim\u00e9tica. Estas figuras presentan una red o capas de significado que generan efectos est\u00e9ticos o emocionales en el espectador que observa la obra y entra en di\u00e1logo con ella.<\/p>\n<p data-start=\"4412\" data-end=\"4777\">La evoluci\u00f3n de la historia universal del arte, particularmente en la pintura, nos ha ense\u00f1ado c\u00f3mo la fuerza y las temperaturas del color \u2014que es un elemento compositivo y expresivo fundamental\u2014 o la fuerza y el poder de las formas operan como term\u00f3metros de la naturaleza humana, que puede representarse en decadencia y fragilidad o elev\u00e1ndose m\u00e1s all\u00e1 de sus l\u00edmites, renaciendo o reinvent\u00e1ndose.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">La obra de Tom\u00e1s es el germen de una esencia generosa, sublime, rom\u00e1ntica, idealista y contemplativa. Intenta contener la vastedad del alma humana, los fen\u00f3menos del entorno o de la realidad, la fantas\u00eda y la imaginaci\u00f3n, as\u00ed como las pasiones o tensiones que all\u00ed surgen.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">En la pintura hay diversos sentimientos; hay una emoci\u00f3n que se captura y se transforma en gesto o imagen, por ejemplo, cuando se evoca la obra pict\u00f3rica de artistas como Mark Rothko, Jackson Pollock, Arshile Gorky, Willem de Kooning, Caspar David Friedrich, Edvard Munch, Vincent van Gogh, Roberto Matta y, en el contexto colombiano, el pintor hispano-colombiano Alejandro Obreg\u00f3n y el cale\u00f1o Pedro Alc\u00e1ntara Herr\u00e1n.<\/span><\/p>\n<p data-start=\"5502\" data-end=\"6023\">En la pintura de Tom\u00e1s Salazar, fuerzas simb\u00f3licas, trazos vigorosos y expresiones formales permiten soluciones pl\u00e1sticas que superan las convenciones iconogr\u00e1ficas. Desde las categor\u00edas est\u00e9ticas del arte, debe reconocerse que el g\u00e9nero art\u00edstico de la pintura resiste a desaparecer; m\u00e1s bien, podemos decir que se transforma. La materia pict\u00f3rica contin\u00faa configur\u00e1ndose como un lenguaje en el que se intercambian reacciones, masas y energ\u00eda. El arte es una forma de conocimiento, y la pintura no se excluye de estas posibilidades.<\/p>\n<p data-start=\"6025\" data-end=\"6426\">En las configuraciones art\u00edsticas actuales, el orden de lo visible puede ser alterado, subvertido, deconstruido o destruido expresivamente para crear una nueva realidad alternativa. Hoy, al confrontar la realidad que afecta al pintor, a\u00fan es posible disociar la historia y las narrativas tradicionales y establecidas de la imagen, y especular ampliamente con la imagen a trav\u00e9s de la pr\u00e1ctica pict\u00f3rica.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">Hablamos de posfotograf\u00eda, poshistoria, y tambi\u00e9n podemos hablar de pospintura cuando observamos, por ejemplo, las elucubraciones o manifestaciones de la pintura expandida, o de una pintura que, desde el informalismo, se ha convertido casi en un objeto tridimensional o escult\u00f3rico, con una estructura po\u00e9tica altamente dram\u00e1tica.<\/span><\/p>\n<p data-start=\"6742\" data-end=\"6747\"><span style=\"font-style: inherit; font-weight: inherit;\">En el arte contempor\u00e1neo, y en la realizaci\u00f3n de una pintura de caballete sobre bastidor, ocurre con frecuencia que el aspecto procesual de la pintura prevalece sobre la forma, sobre la obra concebida como un trabajo pict\u00f3rico acabado. El artista dialoga con los materiales, aprovecha los acontecimientos imprevistos, interroga la materia pict\u00f3rica y se proyecta en ella.<\/span><\/p>\n<p data-start=\"7107\" data-end=\"7424\">En la est\u00e9tica y la iconograf\u00eda de la pintura de Salazar, pasamos de la contemplaci\u00f3n de la calma y la serenidad a percibir reflejos de experiencias emocionales y psicol\u00f3gicas intensas, donde la conciencia misma es profundamente explorada o las pasiones son exaltadas, as\u00ed como los aspectos bellos o monstruosos de la naturaleza humana.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">Las mitolog\u00edas personales manifiestan una libertad interior, el riesgo audaz asumido en la pintura m\u00e1s all\u00e1 de las convenciones acad\u00e9micas o ret\u00f3ricas, haciendo visible as\u00ed la subjetividad individual del artista.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">Presenciamos algo similar al v\u00e9rtigo de un existencialismo abisal, o la posibilidad de ser absorbidos por la naturaleza y sus fuerzas c\u00f3smicas, ind\u00f3mitas o tel\u00faricas.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">Aquellas im\u00e1genes que nos sobrecogen, que permanecen en la memoria y la imaginaci\u00f3n, provocando emociones profundas o experiencias inmersivas, son \u201cdespertadas\u201d a trav\u00e9s del gesto pict\u00f3rico, mediante el espesor o el empaste expresivo de la pintura (profundidad, perspectivas forzadas o angulares, contrastes crom\u00e1ticos vibrantes, composiciones din\u00e1micas que nos sumergen en la estructuraci\u00f3n de paisajes interiores que emergen y se revelan como en un estado primordial o de animaci\u00f3n suspendida, en im\u00e1genes pulsantes o violentas que expresan una especie de vibraci\u00f3n nerviosa o respiraci\u00f3n exacerbada).&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">Las im\u00e1genes se convierten en signos ic\u00f3nicos que van m\u00e1s all\u00e1 de la figuraci\u00f3n, las tendencias representacionales o la ret\u00f3rica; su significado evoca una presencia fantasmal que permanece en un mapa o espacio mental, un paisaje interior multidimensional.<\/span><\/p>\n<p data-start=\"8541\" data-end=\"8546\"><span style=\"font-style: inherit; font-weight: inherit;\">El artista nos asombra y nos permite conectar con \u00e9l, con su mundo interior, con lo inmenso, lo misterioso, lo enigm\u00e1tico, lo melanc\u00f3lico, los s\u00edmbolos y los arquetipos\u2014todos elementos que desaf\u00edan nuestra percepci\u00f3n cotidiana.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">Tom\u00e1s, en su pintura, es un ni\u00f1o, un poeta, un taumaturgo, un sabio que no envejece, un capit\u00e1n de nav\u00edo o el propio barco navegando el mar, un trit\u00f3n m\u00edtico de aguas insondables, un ave ind\u00f3mita que escudri\u00f1a la tierra, un caballero medieval o su caballo desbocado, un astronauta en el espacio exterior, un meteorito iridiscente de fuerza impetuosa.<\/span><\/p>\n<p data-start=\"9090\" data-end=\"9328\">En su obra, Tom\u00e1s Salazar no abandona por completo el naturalismo, el realismo, el paisaje, el retrato o la representaci\u00f3n de objetos, como herencia de tantos estilos del arte, ya sea del siglo XIX, del arte moderno o de las vanguardias.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">Sin embargo, el nivel de iconicidad en su pintura puede variar, adapt\u00e1ndose a la intenci\u00f3n del pintor, a su po\u00e9tica y ret\u00f3rica visual, para lograr im\u00e1genes impactantes que trasciendan lo obvio o lo literal.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">Su arte problematiza la realidad a trav\u00e9s de la representaci\u00f3n, conduciendo a diversos significados y a distintos planos o niveles de realidad, dentro de una b\u00fasqueda continua de sentido.<\/span><\/p>\n<p data-start=\"9708\" data-end=\"9849\">La materialidad de la pintura y los soportes convencionales o tradicionales se manifiestan a trav\u00e9s de una narrativa autorreferencial y autoetnogr\u00e1fica.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">En su iconograf\u00eda, Tom\u00e1s produce im\u00e1genes expresivas y denotativas, pero tambi\u00e9n connota temas velados e im\u00e1genes de fuerza simb\u00f3lica, donde la perspectiva renacentista o euclidiana de la representaci\u00f3n puede ser deconstruida, como en el cubismo, el collage cubista o el constructivismo.<\/span><\/p>\n<p data-start=\"10124\" data-end=\"10129\"><span style=\"font-style: inherit; font-weight: inherit;\">En este caso, Tom\u00e1s\u2014artista inicialmente de taller\u2014, a trav\u00e9s del contacto sensorial con la naturaleza y no solo mediante la exploraci\u00f3n de sus propias emociones, observa en silencio el entorno natural, la vastedad del campo, el mar, el cielo, la tierra al aire libre (record\u00e1ndonos m\u00e1s a los rom\u00e1nticos europeos del siglo XIX que a los impresionistas), y se aventura en la experiencia de ser un artista que desarrolla la percepci\u00f3n en el exterior, incluso a trav\u00e9s de la fotograf\u00eda.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">La experimentaci\u00f3n con materiales y t\u00e9cnicas en la pintura y la escultura forma parte de su premisa de libertad, que equilibra lo acad\u00e9mico y lo subjetivo; el poder de lo \u00f3ptico (lo visual) y lo h\u00e1ptico (el tacto), en armon\u00eda o consonancia con la memoria.<\/span><\/p>\n<p data-start=\"10847\" data-end=\"10951\">El pintor nos sumerge en la naturaleza t\u00e1ctil de sus sue\u00f1os, involucr\u00e1ndonos como testigos de su microcosmos.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">En su obra podemos encontrar desde una austera econom\u00eda de color en la paleta hasta un cromatismo barroco profuso que alude al goce sensual y al placer que posibilita el color, resignificando as\u00ed el concepto, el significado, el contenido, la po\u00e9tica y la forma.<\/span><\/p>\n<p data-start=\"11204\" data-end=\"11460\">Las im\u00e1genes o representaciones de seres humanos, animales u objetos no siempre son claras; tambi\u00e9n son sugeridas, veladas, envueltas en cris\u00e1lidas, capullos o veladuras\u2014\u201cconectadas\u201d con algo o alguien precisamente a trav\u00e9s de estos velos, as\u00ed como mediante la forma y el color.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">Algo ritual ocurre en la pintura; los cuerpos, en su dramaturgia, se enlazan o se disuelven, dejando una presencia f\u00edsica o mental, una huella o impronta, un signo que permanece, operando casi como una arqueolog\u00eda o detrito de la memoria, una met\u00e1fora entre el cuerpo y las pasiones, entre lo racional y lo irracional.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">Relatos anacr\u00f3nicos del pasado se entrelazan con im\u00e1genes intuitivas del presente.<\/span><\/p>\n<p data-start=\"11857\" data-end=\"12081\">El universo pict\u00f3rico de Tom\u00e1s se manifiesta a trav\u00e9s de formas misteriosas, estrellas que se eclipsan o colisionan, cuerpos celestes envueltos en p\u00e1lidos resplandores, el germen de una naturaleza m\u00edtica, del origen fundacional de para\u00edsos perdidos.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">Tambi\u00e9n se expresa mediante s\u00edmbolos que aluden a elementos como el amor, el erotismo, la belleza, la guerra, lo tr\u00e1gico, la victoria y la derrota, el azar, el juego, la vida y la muerte (las pulsiones de eros y t\u00e1natos), el honor, la nobleza, la lealtad o la deslealtad, lo siniestro, lo ambiguo, lo dulce, lo amargo, la fragilidad y la fuerza.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">El artista hace visibles las correspondencias secretas entre estos elementos; la abstracci\u00f3n de todos estos conceptos los transforma en elementos org\u00e1nicos, en met\u00e1foras de la vida que gravitan a trav\u00e9s de diversos escenarios y dimensiones afectivas.<\/span><\/p>\n<p data-start=\"12638\" data-end=\"12731\">El valor sem\u00e1ntico de la imagen reside en c\u00f3mo la obra se configura como un sistema comunicativo.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">En sus pinturas, la violencia o el drama se suavizan o se contrastan con la belleza fuerte y fr\u00e1gil de los objetos y las formas.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">Hay un vigor creativo manifiesto, un refinamiento gradual y progresivo de estas formas, donde lo tr\u00e1gico es atemperado y sublimado por la belleza.<\/span><\/p>\n<p data-start=\"13000\" data-end=\"13324\">Muchas de sus pinturas revelan la curiosidad innata del artista por observar los fen\u00f3menos cotidianos, dando lugar a soluciones formales de la imagen, ya sea mediante un paralelismo o contraste entre abstracci\u00f3n y figuraci\u00f3n presentadas simult\u00e1neamente, o entre lo tel\u00farico y lo et\u00e9reo, la imaginaci\u00f3n y la fantas\u00eda, lo m\u00edtico y lo m\u00e1gico.&nbsp;<span style=\"font-style: inherit; font-weight: inherit;\">El tiempo de Chronos, el tiempo de Kair\u00f3s y lo atemporal se intersectan y se dislocan.&nbsp;<\/span><span style=\"font-style: inherit; font-weight: inherit;\">Todo emerge de la reflexi\u00f3n, de indagar en su interior en contraste con la realidad, para devenir pintura.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-65cecd66 e-flex e-con-boxed wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-equal-height-no e-con e-parent\" data-id=\"65cecd66\" data-element_type=\"container\" data-settings=\"{&quot;_ha_eqh_enable&quot;:false}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-67f7b3e0 e-flex e-con-boxed wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-equal-height-no e-con e-child\" data-id=\"67f7b3e0\" data-element_type=\"container\" data-settings=\"{&quot;_ha_eqh_enable&quot;:false}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-51e71fc6 elementor-view-default elementor-widget elementor-widget-icon\" data-id=\"51e71fc6\" data-element_type=\"widget\" data-widget_type=\"icon.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-icon-wrapper\">\n\t\t\t<a class=\"elementor-icon\" href=\"https:\/\/www.instagram.com\/tomassalazar.art\/\">\n\t\t\t<svg aria-hidden=\"true\" class=\"e-font-icon-svg e-fab-instagram\" viewbox=\"0 0 448 512\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M224.1 141c-63.6 0-114.9 51.3-114.9 114.9s51.3 114.9 114.9 114.9S339 319.5 339 255.9 287.7 141 224.1 141zm0 189.6c-41.1 0-74.7-33.5-74.7-74.7s33.5-74.7 74.7-74.7 74.7 33.5 74.7 74.7-33.6 74.7-74.7 74.7zm146.4-194.3c0 14.9-12 26.8-26.8 26.8-14.9 0-26.8-12-26.8-26.8s12-26.8 26.8-26.8 26.8 12 26.8 26.8zm76.1 27.2c-1.7-35.9-9.9-67.7-36.2-93.9-26.2-26.2-58-34.4-93.9-36.2-37-2.1-147.9-2.1-184.9 0-35.8 1.7-67.6 9.9-93.9 36.1s-34.4 58-36.2 93.9c-2.1 37-2.1 147.9 0 184.9 1.7 35.9 9.9 67.7 36.2 93.9s58 34.4 93.9 36.2c37 2.1 147.9 2.1 184.9 0 35.9-1.7 67.7-9.9 93.9-36.2 26.2-26.2 34.4-58 36.2-93.9 2.1-37 2.1-147.8 0-184.8zM398.8 388c-7.8 19.6-22.9 34.7-42.6 42.6-29.5 11.7-99.5 9-132.1 9s-102.7 2.6-132.1-9c-19.6-7.8-34.7-22.9-42.6-42.6-11.7-29.5-9-99.5-9-132.1s-2.6-102.7 9-132.1c7.8-19.6 22.9-34.7 42.6-42.6 29.5-11.7 99.5-9 132.1-9s102.7-2.6 132.1 9c19.6 7.8 34.7 22.9 42.6 42.6 11.7 29.5 9 99.5 9 132.1s2.7 102.7-9 132.1z\"><\/path><\/svg>\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1908c9f5 elementor-view-default elementor-widget elementor-widget-icon\" data-id=\"1908c9f5\" data-element_type=\"widget\" data-widget_type=\"icon.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-icon-wrapper\">\n\t\t\t<a class=\"elementor-icon\" href=\"https:\/\/www.facebook.com\/profile.php?id=100004967746146\">\n\t\t\t<svg aria-hidden=\"true\" class=\"e-font-icon-svg e-fab-facebook\" viewbox=\"0 0 512 512\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M504 256C504 119 393 8 256 8S8 119 8 256c0 123.78 90.69 226.38 209.25 245V327.69h-63V256h63v-54.64c0-62.15 37-96.48 93.67-96.48 27.14 0 55.52 4.84 55.52 4.84v61h-31.28c-30.8 0-40.41 19.12-40.41 38.73V256h68.78l-11 71.69h-57.78V501C413.31 482.38 504 379.78 504 256z\"><\/path><\/svg>\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-4ed6068 e-flex e-con-boxed wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no wpr-equal-height-no e-con e-child\" data-id=\"4ed6068\" data-element_type=\"container\" data-settings=\"{&quot;_ha_eqh_enable&quot;:false}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-5b2a419 elementor-widget elementor-widget-shortcode\" data-id=\"5b2a419\" data-element_type=\"widget\" data-widget_type=\"shortcode.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-shortcode\"><div class=\"automatic-copyright\">\u00a9 Tom\u00e1s Salazar, 2026. Todos los derechos reservados<\/div><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a5de27b elementor-widget__width-initial elementor-widget-tablet__width-initial elementor-fixed elementor-widget elementor-widget-shortcode\" data-id=\"a5de27b\" data-element_type=\"widget\" data-settings=\"{&quot;_position&quot;:&quot;fixed&quot;,&quot;_animation&quot;:&quot;none&quot;}\" data-widget_type=\"shortcode.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-shortcode\"><div class=\"trp_language_switcher_shortcode\">\n<div class=\"trp-language-switcher trp-language-switcher-container\" data-no-translation>\n    <div class=\"trp-ls-shortcode-current-language\">\n        <a href=\"#\" class=\"trp-ls-shortcode-disabled-language trp-ls-disabled-language\" title=\"Spanish\" onclick=\"event.preventDefault()\">\n\t\t\t<img decoding=\"async\" class=\"trp-flag-image\" src=\"https:\/\/tomassalazar.art\/wp-content\/plugins\/translatepress-multilingual\/assets\/images\/flags\/es_ES.png\" width=\"18\" height=\"12\" alt=\"es_ES\" title=\"Spanish\"> \t\t<\/a>\n    <\/div>\n    <div class=\"trp-ls-shortcode-language\">\n                <a href=\"#\" class=\"trp-ls-shortcode-disabled-language trp-ls-disabled-language\"  title=\"Spanish\" onclick=\"event.preventDefault()\">\n\t\t\t<img decoding=\"async\" class=\"trp-flag-image\" src=\"https:\/\/tomassalazar.art\/wp-content\/plugins\/translatepress-multilingual\/assets\/images\/flags\/es_ES.png\" width=\"18\" height=\"12\" alt=\"es_ES\" title=\"Spanish\"> \t\t<\/a>\n                    <a href=\"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/pages\/2829\" title=\"English\">\n            <img loading=\"lazy\" decoding=\"async\" class=\"trp-flag-image\" src=\"https:\/\/tomassalazar.art\/wp-content\/plugins\/translatepress-multilingual\/assets\/images\/flags\/en_US.png\" width=\"18\" height=\"12\" alt=\"en_US\" title=\"English\">         <\/a>\n\n        <\/div>\n    <script type=\"application\/javascript\">\n        \/\/ need to have the same with set from JS on both divs. Otherwise it can push stuff around in HTML\n        var trp_ls_shortcodes = document.querySelectorAll('.trp_language_switcher_shortcode .trp-language-switcher');\n        if ( trp_ls_shortcodes.length > 0) {\n            \/\/ get the last language switcher added\n            var trp_el = trp_ls_shortcodes[trp_ls_shortcodes.length - 1];\n\n            var trp_shortcode_language_item = trp_el.querySelector( '.trp-ls-shortcode-language' )\n            \/\/ set width\n            var trp_ls_shortcode_width                                               = trp_shortcode_language_item.offsetWidth + 16;\n            trp_shortcode_language_item.style.width                                  = trp_ls_shortcode_width + 'px';\n            trp_el.querySelector( '.trp-ls-shortcode-current-language' ).style.width = trp_ls_shortcode_width + 'px';\n\n            \/\/ We're putting this on display: none after we have its width.\n            trp_shortcode_language_item.style.display = 'none';\n        }\n    <\/script>\n<\/div>\n<\/div><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>ARTWORKS TRANSCENDENT GOD SAVE THE KING I GOD SAVE THE KING II WRITINGS SHOP CONTACT &#8220;Becoming Painting and the Power of the Image: Contemplation, Evocation, Vertigo, Serenity&#8221; BY Fernando Rojo Betancur January 2, 2026 The art of young emerging artists today possesses that freshness of quixotism, of contemplating reverie and that interstice between sleep and wakefulness, between the imaginary and the real, in an alchemy or crucible of styles and movements such as expressionism, new figuration, abstraction (lyrical and geometric), surrealism, action painting, and gestural painting and drawing. In this way, a plastic language is configured that freely brings together these languages through novel media and supports within the universe of new technologies (in a digital world of excess and saturation of images and iconographies). After the decline of the avant-gardes, modern art, and the plastic developments of postmodernity, artists face the challenge of reinventing art, even if it seems utopian, by applying and reinterpreting aesthetic and semantic forces. This is possible because they possess the historical baggage of images in retrospect, with full access to the past or the tradition of painting through information contained in books, publications, or encyclopedias.&nbsp;Additionally, they can reread the history and historiography of art or its aesthetics not only in museums, galleries, or collections, but also through the Internet, platforms, and mass media in the era of the Digital Revolution. All of this gradually condenses into their visual culture. The work of Tom\u00e1s Salazar presents this speculation about the human condition, in contrast with vital experiences, the metaphysical, and the transcendent. It is also nourished by academia and experimentation, freedom, innovation, and expressiveness. One must not forget that his generation is televisual, having grown up under the influence and impact of cinema, design, advertising, literature, television, and the rise of the Internet.&nbsp;All of these elements give rise to eclectic visual styles, and within this context another possibility also emerges: the difficulty or risk of labeling an artist who can be chameleonic and dedicate himself to simultaneously exploring, or within his processes, many expressive media or genres of contemporary art, such as performance, installation, gestural painting, expanded drawing, video art, etc.&nbsp;However, Tom\u00e1s, beyond fashions or trends, continues to commit to painting as a medium and communicative support, without ceasing to confront reality and his own inner world\u2014neo-baroque, dramatic, emotional, fragmented, rich, and suggestive. His commitment to art denotes and connotes an ontological search, an existential substratum. Tom\u00e1s does not abandon the rigor of an almost ascetic vision of painting, nor the commitment to the painter\u2019s craft, to constancy and discipline in drawing and pictorial gesture, nurtured day by day through practice, laboratory work, and academic or personal experimentation.&nbsp;Therefore, his plastic, pictorial, and artistic process is not youthful nihilism, nor an existential or idealistic rebellion without cause; it is a commitment to his identity as an artist, who deeply understands the power of enunciation of the image in contrast with the word. Painting and illustration are polysemic, dynamic, expressive languages, with many semantic and communicative possibilities. They are languages that allow self-knowledge beyond mere creativity, virtuosity, innate talent, or mastery of purist or traditional artistic techniques. In his work there is control, awareness of what is being done, principles and vital forces, telluric forces, ontological charges, and substrata of the human and the transcendent. Metaphor (based on resemblance) and metonymy (based on a relationship of contiguity: cause\u2013effect \/ part\u2013whole) in the image are rhetorical figures that also function as semantic resources, allowing the artist to go beyond the merely literal or mimetic figurative image. These figures present a network or layers of meaning that generate aesthetic or emotional effects in the viewer who observes the work and enters into dialogue with it. The evolution of universal art history, particularly in painting, has taught us how the force and temperatures of color\u2014which is a fundamental compositional and expressive element\u2014or the force and power of forms operate as thermometers of human nature, which can be represented in decay and fragility or rising beyond its limits, being reborn or reinventing itself.&nbsp;The work of Tom\u00e1s is the germ of a generous, sublime, romantic, idealistic, and contemplative essence. It attempts to contain the vastness of the human soul, the phenomena of the environment or reality, fantasy and imagination, as well as the passions or tensions that arise there.&nbsp;In painting there are diverse feelings; there is an emotion that is captured and transformed into gesture or image, for example, when one evokes the pictorial work of artists such as Mark Rothko, Jackson Pollock, Arshile Gorky, Willem de Kooning, Caspar David Friedrich, Edvard Munch, Vincent van Gogh, Roberto Matta, and, in the Colombian context, the Spanish-Colombian painter Alejandro Obreg\u00f3n and the Cali-born Pedro Alc\u00e1ntara Herr\u00e1n. In the painting of Tom\u00e1s Salazar, symbolic forces, vigorous strokes, and formal expressions allow for plastic solutions that surpass iconographic conventions. From the aesthetic categories of art, it must be recognized that the artistic genre of painting resists disappearing; rather, we can say that it transforms. Pictorial matter continues to configure itself as a language in which reactions, masses, and energy are exchanged. Art is a form of knowledge, and painting does not exclude itself from these possibilities. In current artistic configurations, the order of what is seen may be disrupted, subverted, deconstructed, or expressively destroyed in order to create a new alternative reality. Today, when confronting the reality that affects the painter, it is still possible to dissociate history and traditional, established image narratives, and to speculate extensively with the image through pictorial practice.&nbsp;We speak of post-photography, post-history, and we can also speak of post-painting when we observe, for example, the elucubrations or manifestations of expanded painting, or painting that, from informalism, has become almost a three-dimensional or sculptural object, with a highly dramatic poetic structure. In contemporary art, and in the making of an easel painting on a stretcher, it frequently occurs that the processual aspect of painting prevails over form, over the piece conceived as a finished pictorial work. The artist engages in dialogue<\/p>","protected":false},"author":1,"featured_media":0,"parent":2422,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_canvas","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"no-sidebar","site-content-layout":"","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/pages\/2829"}],"collection":[{"href":"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/comments?post=2829"}],"version-history":[{"count":4,"href":"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/pages\/2829\/revisions"}],"predecessor-version":[{"id":2843,"href":"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/pages\/2829\/revisions\/2843"}],"up":[{"embeddable":true,"href":"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/pages\/2422"}],"wp:attachment":[{"href":"https:\/\/tomassalazar.art\/es\/wp-json\/wp\/v2\/media?parent=2829"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}