A duality between the aesthetic object as such and the context in which it is generated, Reversing these anomalies implied hard technical work. It was impossible to stop the spatial illusionism or overcome the crises brought on by my last works of this first period, consisting of upright planes supported by bars. It was impossible to perform these changes resorting only to shape. This endeavor entailed the discussion of the problem of color in its flat extension and the rejection of the traditional resource of the "harmonic" and "complementary" relations in vogue; the replacement of this abstract clumsiness with the consideration of the qualitative character of shapes as the only channel to chromatic relationships. This synthesis between the color of its relative potentiality and its spatial limits establishes the combination between the tactile and visual aspects, conditioned by the introduction of "colored field". 

I would like to point out the new system of open structure, which led to a change of method in the making an object, which, as such, will be introduced in our lives without contradictions or modifications, represents a fundamental factor on which the creative, inventive and concrete experience is based. The essence of this purpose embodies the respect of man in his knowledge of reality, encouraging his will and social conscience of progress and change. 
Concrete painting is tantamount to the state of development of the control of nature and of incidental facts. Its message is direct, devoid of superfluous apparels, maintaining all the emotional qualities which the author may be capable of expressing".

Raúl Lozza - 1997

 

ASSERTION OF REALITY

"In my opinion, we cannot consider realistic a painting that aspires, either because it is a mere copy or a distortion, to become a sign. As far as I am concerned, the only realistic painting is, above all, that which seeks to assert its material reality (planism), abolishing all figurative reminiscences by means of a comprehensive structure. Therefore, the only realistic art is concrete art".

Manuel Espinosa "Contrapunto" Magazine - 1945

 

NEITHER SEARCH NOR FIND, CREATE

Manifest of the Concrete-Invention Art Association on the occasion of their first exhibition in the Salón Peuser in 1946:
"The artistic age of representative fiction has come to an end. Man gradually becomes more insensitive to illusory images. That is to say, he makes progress in the sense of his integration to the world.