“Tahiche Diaz’s body of works is a profound meditation on human existence….the artist wants, in an excessive manner, to preserve the memory of humanity by building a sort of prodigious and fantastic “natural history museum”, a kind of wunderkammer.”
“The Longing, vertigo, anger, rejection or dreamlike weightlessness latent in the works are imbued in almost tangible dwellings, which belong, however, to the sphere of our dreams, of our perception and of our unconscious state”.
“Tahiche Diaz’ works could be understood as an extensive and relentless construction of a “self portrait”; starting from our awareness that all men live immerse in dramatic soliloquies, they can lead us to the funeral depths of “self representation”, to a finiteness that paradoxically remains definitive before our eyes.”
“Tahiche assumes the posthumous fate of art; its “coming after” is, in terms of Hal Foster, a spectral one. The absence of self, or rather the absence of myth, leads to a need to accept the ruins. In his works cruelty, violence and beauty intertwine, embodied in a very intense gesticulation. Despite all of this (with ample reasons to justify pessimism or to indulge in an apocalyptic tone or a nihilism without handholds), the artist continues to take a humanistic perspective: “Arts, philosophy and science – he writes vehemently and lucidly – should take command of interpretation, which is emasculated by all those images that, instead of relying on the world, urge the individual to integrate in a structure of mercantilist sects. The artist must narrate the world over any genre or classifications that alienate communication by using visual allegories and creating spaces open to the existence of the spectator. ”
Fernando Castro Florez
In these times of superficial aesthetic, where rapid impressions without essence, leaves the human to the mercy of the market sects. We seek and advise to go further, to go deeper. An attitude that requires time and commitment.
The passionate explorer, under his diving helmet full of concern and will, from the deepest darkness he perceives, that space becomes an illusion to be revealed… To delve into the world and into one’s self requires that a certain distance is to be taken.
This distance that is perceived by the spectator, who scrutinizes and investigates the world, is relative: it’s found in that latitude that is distant and cautious, even so he continues immersed in, what he studies, the world.
On having gone into depth, even from this uncomfortable perspective, it is possible to perceive authenticity.
These imaginary transitions are an invite to enter the cave and are inspired by the concern of the first creators of images and meaning, in the caverns. Like a way of delving into one’s own self, into fears, desires, wishes and with the purpose of expressing these emotions to describe the world.
This human being, from the caverns, penetrated the depths of the Earth just as he did with the inner of his mind.
He was dedicated to exploration.
In these times it becomes necessary “to delve”, to know about the magic of particles, that interact in the background, to return to science and to transit the cavern, to feel and find albino resources that beat, that haven’t seen the light and cry out to be, they clamour….like new ideas that should be brought into the light.