Every time I find the word Interlude on the sleeve of a CD I wonder what it means and how it can be defined. It sounds like something between operatic technique and children´s playtime. Something like a floating space where you can do whatever you want and no-one will question it... just because it's there, or perhaps it is just to give it a name, because it "goes without saying”.

Implies a small ( ), a BeatBang, a blink of an eye.
An OM, dilated, extended and metamorphosed.
A weightless state that is allowed to err. Retro-illuminated and left-to-be. Ceasing to be and aiming at infinity. Create from scratch. Be your mirror, reflection, memory and recollection. Imagine being a witness, the eye and paint.
"Abstract-mind"?. Is it possible?
Perhaps, if the forms are undressed, cherish its purity, the essence.

Comprises of a series of intuitive sketches in which the only premise is that there is no-premise. Maybe it is a utopia. Like weaving. No hopes or promises.
It is spontaneously engendered by the spirit. No judgments.
Like joining the dots. With confidence.
These small confidences represent the origin of a journey of initiation into the transcendental. Or perhaps, also the other way round?!?!.
Who knows ...

The 5 canvases made explicitly for PLAS, are only the second of the three stages comprising INTERLUDE so far.
This second interludiana stage is characterized by the independence of the canvas against the frame and structure, colour saturation, the dot as minimum structure and compositional meaning and the circle as the vehicle of dynamic_ spiritual_connective experience.
In them the memory of the brush, rhythmically tapping dots, roundness, auras, hoops, limbos. Sublime.
Where are we going?
Some are trapped in immobility. Others go inwards towards the centre or out from it. From the inside, out. Others remain in perpetual motion, as if hypnotized, sound asleep, wide awake.
Maybe if we are left to rock ... we can manage to free ourselves; purify.

It is still an unfinished series in progress.
Derived from previous times, internally simultaneous.
A new impetus towards the evidence.
A deep throb, pulsating to manifest itself.
Another way to transcribe, to give light to the veiled, to reveal what has been silenced.
LOVE as original creative force that reconciles and unites, which expands infinitely and transcends reality.
COSMIC LOVE that overrides any doctrine, formal law and rational explanation. UNIVERSAL LOVE defining, without limits, our existence.
At this stage the dot configures the internal structure of experience. Engenders a kind of floating volume marvelling between two worlds. Informal forms, imaginary mass, stellar legacy, cellular portraits, embryonic skeins.
Dreams that constellate toward the origin of love.

It is precisely the magic of incomprehension which fascinates some of us.
Without it we are practically nothing.

This piece of Interlude constitutes a stellar family.
Each member of the BEING EYES constellation has its own function, enjoying its own identity, and born to be always free. The beings of this galactic tribe are organised and live from attraction and RESPECT. Whatever their movements may be, from nature, they can never break the integrity of any of their brothers or any other stellar family. The main reason for their existence is to ensure the harmony of the UNIVERSE and for the good of ALL. They are the result of unconditional and infinite COSMIC LOVE.
Each BEING EYE carries magical powers and connects with beings from other planets through the pupil, light and colour.

THE COLOR OF SILENCE, marks a new stage in the process of approximation to
" pure abstraction" and consists of freeing the spirit in a different way, staying in the present the inner silence allows the energy to be reflected. It is not an exercise of representation but rather presentation. -------just a link. At other times a " familiar" link with the viewer.

INTERVAL somehow explains and limits space and the duration of silence which comprises the manifested experience. Either in full or only in part.
The intervals will be defined initially by time figures-signs (year/month/day/hour/minute) but without forgetting that, by definition, almost paradoxically, time is relative, existence multiple and even simultaneous.

Patricia Bonet. Benicásim. Noviembre 2014

Creating beautiful objects is neither synonymous with, nor the effect of only imitating nature, but also; creation may occur from the relationship of the geometry and colour. Beyond what for us may mean a beautiful object, beauty can be a means to integrate with the cosmos.
Uff! We are scattering hyperbole over the artist and her work, thinks the reader. I say no, at least not from my point of view. Continue reading a little more and I will explain.

Patricia Bonet's work is not decorative, but believes in the role of abstract-geometric art as a link of closeness between the viewer and the concept of philosophical truth. Her search for pictorial solutions seems, at first glance, both broad and practical, a consequence of what Kandinsky raised in his book ‘Point and Line to Plane’, ie, that the analysis of the artistic elements is a bridge to the inner heartbeat of the work of art, regardless of whether the author knows or not, or has taken into account or not, its purely scientific value. The assertion, until now predominant, that a work should not be broken down, as analysis would entail, inevitably. The death of art comes from the ignorant undervaluation of the elements analysed and their primary forces.

Geometry is the guiding principle of our reality, either from a scientific or artistic perspective, or even from mysticism. Scientists like Einstein have seen time-space as a continuum with a specific geometric shape and other physicists have understood that the material world is the representation of mathematical forms that exist in a kind of Platonic space. From a mystical vision, geometry reflects the divine order and reveals the signature of the creator, which is why there are principles such as the golden ratio, fractal sets or supersymmetry, echoes of unity within multiplicity. It is the primal wonder, recognizing the primordial unity in all things.

Okay yes, I recognize the scattering. I correct myself. What I'm talking about is geometry, colour, proportion, and also the philosophical concept of creation, because the artist of today does not copy nature, but creates it (as the artist Manuel de la Cruz Gonzalez said). Because to speak only of the first would be a disservice tantamount to criticism, I realize this. Give me a chance, please.

Since humans learned to walk on their lower limbs and use their hands, they have reflected not only on what to do with their daily lives, but also on the perception of the almost magical world around them. As in Altamira (after Altamira, all is decay said Picasso); and the wonderful roof of Denderah, which belonged to the temple of the goddess Hathor in Egypt, now in the Louvre ...

The philosophy of nature, natural philosophy, or cosmology, was the name given to physics until the mid-nineteenth century. Today the so-called philosophy of nature deals with issues such as determinism and freedom, human nature and biotechnology, the explanation of biology, morphogenesis, and even discusses the most appropriate term for ontology, epistemology and the ethics of a renewed philosophy of nature, such as integral naturalism, or philosophical morphology. I confess that I had to read the texts that discuss these topics two or three times to understand anything. I wanted to refer to the early Greek philosophers who studied nature (physis) and tried to establish the origin and the formation of natural things, their conclusions were the basis of scientific theories later developed (I therefore quoted morphogenesis as title of this text).

Why do I link Patricia Bonet's work with those robed men?, I hear you ask; perhaps because the Greek philosophers understood nature as a permanent and primordial substance that remains throughout the changes that natural beings undergo, and some of that is transmitted to me by the work of this artist. Among the pre-Socratic philosophers, who became interested in the cosmological problem, such as the origin of the world, and tried to answer their questions based on concrete objects of nature, my favourite is Anaximander. A disciple of Thales, who thought he had found everything in principle of ‘apeiron’ (the Boundless). I love this guy. I wish I had been a disciple of Anaximander. Anaximanderist and chaotic ‘pro’ writer.

But Patricia is clearly not, Patricia is Pythagorean. Which is not an insult, quite the contrary. The earliest references to the pleasure of mathematics are linked to the name of Pythagoras, the Greek philosopher who observed certain patterns and numerical relationships manifested in nature. Patricia reminds me of the philosophical position of Pythagoras, because somehow in her paintings explain the order and harmony of nature in the composition, a kind of science of numbers. I can say I'm too far removed to talk about art, but I know that the Pythagorean School studied the dodecahedron. The crystallographic figure of cubic order made up of twelve pentagons, and the relationship of line sections within the Pentagon resulting in the golden ratio whose geometric solution it was solved by Euclid, and which Kepler then called divine proportion, the same as would be used by sculptors and architects for centuries.

So we move on: we have a painting of ions and electrons, energetic microcosms
Which vitalize small expansive universes in constant progression and universal integration process. Erwin Schrödinger, Nobel Prize in Physics, summed this aspect up in the middle of last century as, ‘there is nothing.’

I'm not exaggerating. It is all the same: Schrödinger, Pythagoras, Manuel de la Cruz ... The vision of Patricia Bonet´s cosmic art involves an integration of emotional science, number, proportion and composition, all covered by a dimension It corresponds to scales and inclusive natural relationships. Patricia Bonet´s painting is like the phi number or golden ratio in the nature of crystals, it is a pristine numerical relationship like that of musical notes. But that has already been mentioned, because it is also the creation of a person, an artist who breathes, who paints without coercion, subjectively, with imperfection that beauty requires, the artistic. At the end of the day, perfect is monotonous and boring, and worse, hardly arouses passions. One can only be perfectly imperfect. I speak to try to interpret the music of the spheres, ladies and gentlemen, but loudly.

Patricia had already experimented in previous projects with the artistic possibilities of the line and the plane, and had worked with elements of two-dimensional representation. She worked with the idea of creating the illusion of depth from engineered lines, the space having been designed from the internal projection of each of the elements of the composition aimed at analysing the behaviour of structures and forms in space; all in relation to the use of colour was already there ... Schrödinger, Pythagoras, Manuel de la Cruz ... Their works are studies of geometric perspective derived from an undeniable knowledge of the representation of three-dimensional space in the plane and all the artistic possibilities derived from it, which requires a clear dominance of the structural drawing of different solid forms with their corresponding colour and how they behave in space.

Dots in circles and colour elevated to its maximum expression, freedom from the preconceived, almost like an exercise in painting what comes to mind in the moment, like enabling automatic geometric expression, it is contrary to what it may seem, the synthesis of everything Patricia Bonet has explored so far and its freedom.

Circles, circles, circles. Dots, dots, dots. Now astrophysicists say that our universe most likely is manifested of a curved extension of itself, forming a kind of sphere, relatively small, not an infinitely open expanse. Apparently Leonardo da Vinci was right, in fact we could be living in a dodecahedral universe (that old rogue Pythagoras), and with it we can explain some of the latest satellite observations. You can´t deny that Patricia Bonet´s work is not related to this.

And if you don´t think so, I certainly do. And if you do too, then constant reader who has come this far, that makes two of us. One of the strangest and most fascinating questions generated by quantum physics is the possibility that the world we experience is being generated by our perception. In scientific terms, this means that phenomena manifest themselves one way or another according to how we conceive and interpret them. They remain in a state of uncertainty that defies logic until they have been thought about: they are and aren´t, they are living and dead, waves and particles. Or, in other words, they are non-existent or everything at once. The infinite power of the vacuum. However, one explanation is the possibility that consciousness is a constitutive property of the universe. If consciousness also exists at a quantum level this kind of behaviour could be explained as the effect of the mind (and why not, passion) over matter. So if the two of us could convince and add another reader, then Patricia Bonet´s universe (and everything said here) would be true. And it wouldn´t it be nice if it was?

Joan Feliu Franch. Universitat Jaume I. junio 2015

“The years when I pursued the inner images were the most important time of my life. Everything else is to be derived from this. It began at that time, and the later details hardly matter anymore. My entire life consisted in elaborating what had burst forth from the unconscious and flooded me like an enigmatic stream and threatened to break me. That was the stuff and material for more than only one life. Everything later was merely the outer classification, the scientific elaboration, and the integration into life. But the numinous beginning, which contained everything, was then.
These are the words of psychologist CG Jung in 1957, referring to the decades in which he worked on Das Rote Buch (The Red Book). I had just finished re-reading this book, and had begun a somewhat symbolic study of the Shipibo-conibo icaros of the Amazon basin, when Patricia called me to write something for her Interlude collection.
It's been a few days since that call and, as is usual with me, I don´t know where to start.
I turn my back to the sea to put myself in front of the latest collection by Patricia Bonet. Work, which incidentally, I have watched evolving, from singular to multiples, from a unit to diversity, a dot to the cosmos, of Being (original) to beings (distortions or manifestations). From behind, hugging me, I am enveloped by the rumble of a troubled wave that precedes a storm. The evening darkness falls. The sun, barely menstruates on the grey-black of the clouds. Today smells particularly of salt and rain.
In front of the canvas, I overcome my sterile Heideggerian twitch at the question
of, "Existence" through the transit of strong aesthetic appeal, dynamics, movement and colour, which each of these proposals holds, an area of fascination and pleasant perplexity.
Each piece of Interlude is full of an unexpected dimension that surprises us, not the fact of inertia, the go-to-look-and-try- to-make sense you have, but to intuitively perceive that this is more than just coloured dots forming random circular structures. In the same abstract is a tangible evanescence, evidence of an order, of a code.
Each piece has something mysterious, a superior attraction that emanates not only from what is shown, but also from what we can glimpse. A seduction so suggestive as to transmit images of the cosmos, mandalas, crop circles, fractal images or the symbolic representations of Amazonian icaros.
An enigmatic quality which, I believe, is forged by interacting with the abstract like the result of an impulse, and order. A paradox that serves the artist to access a universal language, avoiding language barriers and cultural restraints. An absolute metalanguage like that of the Great Book, as Galileo said:
“….it is written in that great book which ever is before our eyes -- I mean the universe -- but we cannot understand it if we do not first learn the language and grasp the symbols in which it is written. The book is written in mathematical language, and the symbols are triangles, circles and other geometrical figures, without whose help it is impossible to comprehend a single word of it; without which one wanders in vain through a dark labyrinth.”

In Interlude, behind the concrete, the visible and the palpable,"Something else" emerges, something beyond knowing, perhaps Knowledge. Faced with the abstract, formal and conceptual, the composition acts as decoder and leads inexorably to the subjective interspace, intuitive (giving us a glimpse) and visionary, that connects us to "another world". Correlations of space and colour, stellar influences and references to the air, an order of the elements that the artist, as a cosmic demiurge, establishes at the basic level by giving life, vibration and resonance. Abstract rhythms that the artist harmonizes and turns into vectors of another type of exchange, which lead us along the road to revelation to something timeless, original, primary, yet infinite.
Connecting us to the essence of the Universe, our original essence, the most deep and intimate nature of ourselves.

Xano Viciano. Writer. Castellón. November 2014

“lying face up, feeling the cool grass at my nape and hands

looking around from this height, everything is sky

Night has fallen without me realizing

I breathe and the skies ripple

I want to ask you a question, what I can see is figurative or abstract?

I know that is a silly, very silly question, but this is our logic, outdated

I breathe and the perspective changes, there are other ways of looking, as yet unknown

I breathe and a multitude of colours are arranged, small on the pleasing background

I follow them with my eyes, more out of habit than necessity, because the essence need not be seen

It is always there, despite our blindness "

Rosa Fuentes. Painter. Castellón. November 2014


Políptico. Acrylics on canvas 2015