In the “Butterfly Effect” series, the creative act is founded, first of all, on the adoption of chaos as an infinite set of possibilities that revolve around a specific element (called the attractor). Second, in the assimilation and development of one of those many possibilities, allowing a credible progression in time and space. Cronotopo #53 (2500 minutes on three places on the northwestern coast of Cuba) is then the unique and unrepeatable residue of one of those possibilities that revolve around the poetic experience of man in front of nature, specifically on the sea. It is, in turn, the execution of a specific model of the concept of memory, the latter being understood as a hypersensitive system that switches against the slightest variations in each of the parameters that structure it.

Specifically, this work refers to my experiences in three places on the northwestern coast of Cuba. Three separate experiences in time and space; whose common vertex is in any case geographical, since each event has taken place in relation to the sea. But the work does not only point to the memories of those places, or at least not in the first instance. These memories perhaps remain as background radiation. Your target center is the graphic residue of the exact moment when experiences in those places have been intentionally recalled. That is, the 2,500 minute record (also separated in time, although not in space) in which those events have been reconstructed from the workshop. In this way, the graphic footprint, defined by the aesthetics of the drawing, reconstructs from the present a past geography, atomized, fragmented, real and illusory at the same time, of those three places; where the details, the scene and the whole, share the same plane of importance. The work moves between real time, imaginary time and creative time to find a common place between the possible and the impossible. It seeks to assimilate chaos and in turn delimit the channel of possibility.