My work as an artist has a great deal to do with memory. As I paint, as I photograph, as I draw, I am remembering an event of a time that has passed, but that appears to be occurring in the present. All that has passed and all that will come to be culminate to form the image, like the coalescence of two passing waves upon the shore of the sea.
In painted portraiture, the inspiration is drawn from life, or from the reference of a photographic image. But it is a reference point, merely to trigger a memory. As I paint, the image develops upon the canvas, like the appearance of an image on photographic paper, as it is dipped into the developing liquid in the darkroom of my mind.
Unlike the everyday events of life, which we walk through like the turning of invisible pages, a memory exists apart from this diurnal passage. "Time presupposes a view of time," as "its moments co-exist spread out before thought" (Merleau-Ponty, 1962, p. 411–415).
The origin of objective time, with its fixed positions lying beneath our gaze is not to be sought in any eternal synthesis, but in the mutual harmonizing and overlapping of past and future through the present, and in the very passing of time (1962, p. 420).
Although I've primarily focused on painting and drawing in recent years, I have begun to create a body of photographic work as well. The new portfolio consists of photographs of clouds. Details of cloud formations in varying light conditions, photographs of passing storms, and of clouds disintegrating through evaporation into the evening sky.
Here are a few examples of this new body of work:
© Noé Badillo 2016
It is a departure from the figure, from the focus on my wife and the kids, and from other figurative subjects. But although I haven't formally presented this work yet, it has served as a study of light, and of form. And this study has influenced how I paint those other subjects.
Above all else, the images serve to trigger a memory of those other depicted events.