Casa Lamm, CDMX.

THE EPIPHANY OF THE LANDSCAPE

Flor María Vargas

You have to travel by road through the vast geography of Chihuahua, Paulo Medina's home state, to understand the rapture that can be produced by those enormous, frankly desert-like plains, stretching into infinity until they meet the sky, equally immense and filled with luminosity.

Heaven and earth, inextricably united, distinguished from each other only by a bluish line of mountains that forms the horizon, which, rather than dividing, firmly amalgamates the two cosmic forces between which human beings live.

Deserts that were once seas where underwater life was born and upon whose waters so many sailed ships, so many dreams, so many fantasies that remained mere evocations of the possible, may have sailed, but which are there, floating in the thick vapor of the sunny midday or levitating beneath the starry night sky.

Landscapes in the painter's work are transmuted into continuous linear forms and the intense use of a wide range of yellows, where blues are barely hinted at, and black timidly erupts to define, more than a horizon, a vital center that seems like a port, a destination, or a promised land to which one yearns to reach.

Paulo Eduardo Medina Muñoz was born in Ciudad Delicias, Chihuahua, in the mid-1960s, where he lived until finishing high school, before later departing to pursue the two vocations that have guided him in life: art and the priesthood.

On the other hand, contemplating the work forces the viewer to enter within themselves, in order to interpret it, pause for a few moments, and engage in dialogue with it before moving on to the next.

The painter acknowledges that his paintings are the medium he has chosen to express emotions and feelings, that each painting expresses a particular mood, a time, a stage in his life, but that they all have to do with a search for answers and constitute an approach to a transcendent truth: God.