“Nothing is wrong with darkness, provided you control the switch”

Aniekee Tochukwu

The Bipolar Spirit


Once I met a MADELAT who lived in an intermittent summer pace, in contact with nature and his family… an artist on the carousel of emotions who is not challenged by the exhibitionist part that usually entails the matter, but rather to bring art down to real life , translate feelings and share them through art.

But I have also seen MADELAT dedicated to persecute as an inquisitive thinker of himself and of the relationship we maintain with ourselves… It complements and extends coexisting with the unstoppable tendency to disintegrate and disseminate itself as a work.
Before him I discovered myself as a spectator of a film where climates, moods, moments of revelation of spirit alternated vertiginously… but before his work it is an experiential approach to painting, which moves away from the fictional but does not of the strident, because the intention now is merely stimulating.

His art draws on the insecurities of the artist, on the miseries of the self and at the same time, it is an image of this time where the pretense of masking ends up showing even more…

What shines today in “The bipolar spirit” is the way in which it seems to understand that emotional experiences are not provisional or final, but that while they form the art that describes them, they are also modified in the process.

It is there where MADELAT seems to capture the pure energy of the vital moment, the power that is born, explodes, declines and is brought to the material, to the composition and to the colors in an original and virtuous way in the incisive impulse to express what has been lived.

What persists then from these paradoxical gropings is the strange, determined, even suicidal freshness of an artistic philosophy capable of betting everything on a single token – the principle that the truth is never in things but in the fortuitous connections in which , with a bipolar spirit, existence is.




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