50.8 x 152.4 cm – 20 x 60 inches
New York 2021
50.8 x 203.2 cm – 20 x 80 inches
New York 2021
110 x 120 cm. 43.30 x 47.24 inches
Abu Dhabi 2019
116 x 116 cm. 40 x 40 inches
New York 2021
70 x 100 cm. 27.55 x 39.37 inches
Abu Dhabi 2017
22 x 33.5 cm. 8.66 x 13.18 inches
Abu Dhabi 2018
100 x 100 cm. 39.37 x 39.37 inches
Abu Dhabi 2017
The Synchronicity of Time
In the series “The Synchronicity of Time”, I am following my own spiritual process that I have long been pursuing inside myself and which guides me towards a place full of colors, poetry, and silence. It is a place where art is the compass that guides me on the continuous path towards the infinite and which reveals itself in the magical realism of my artworks.
Since I was a child, The Synchronicity of Time is something that has always made me feel like I was in a game of infinite possibilities. Back then, I didn't know how to express the sensation that I felt and how I thought about time. However, I imagined that it was something very close to me and I felt it vibrating in my ears when I closed my eyes. It was like a stream that ran very slowly without stopping. When I was growing up, that stream accelerated until it became a very fast and powerful river, whose speed I could only match if I calmed down and entered the silence within me, in my mind, and felt my natural rhythm.
Nonetheless, until now, I cannot define the time. Sometimes I feel that within myself I am a mirror that reflects a perfectly harmonious and undistorted reality. It is a reality where I have never moved from the same place since I was a child. I am at the same point since then regardless of the distractions along the way of life. Other times I think that time, as such, does not exist. Perhaps what exists is space, a space that begins if I open my eyes again. So, the only way to express The Synchronicity of Time is in the magical and virgin spaces of my canvases when I am on my own journey, during the walk in the intimate act of making my painting.
Within the process of doing my work, I create an illusion of time. I use sensitive geometry in dynamic constructions on figures of stopped clocks giving hours that come out of forgotten calendars in remote places. I use moon synchrometers that chase each other in eternal phases and where perhaps, in that immutable passage, the key to the mute and persistent sound of time can be deciphered.
Colors are juxtaposed creating rich textures. I also paint images of people in acts of permanence located within strange coordinates full of textures, as if with these they could go somewhere within the movement of the universe. Perhaps, it is a universe within an eternal infinity that builds the architecture of time. It is a silent infinity that encompasses everything.
Mari Gamarra