Manuel Ameztoy

With the papers that are already printed, in the form of books, almanacs or paper money, I build my “teselados”, large collages that are an attempt to simultaneously look at the entire story. Every page of the book, every quadrant of the city map, and every sheet of the almanac, are digested and reconfigured into a single, enormous cloth. The narrative freezes, the geographical space is atomized, and the days of the year are suspended in a single image. There is no before, there is no after, there is no here and there. Image and text fade.
There are also my most intimate works: openwork paper boxes. Constructed with the noblest papers, which due to their pulp dyeing offer a fine palette of colors, they are a kind of painting that the gaze recomposes from an overlap of openwork papers of different colors. The profusion of the draft, where the void is greater than the full, generate an image halfway to its dissolution.