Discover more of the author’s books, see similar authors, read book recommendations and more.

ANTOINE DE SAINT-EXUPÉRY, the "Winged Poet," was born in Lyon, France, in 1900. A pilot at twenty-six, he was a pioneer of commercial aviation and flew in the Spanish Civil War and World War II. His writings include The Little Prince, Wind, Sand and Stars, Night Flight, Southern Mail, and Airman's Odyssey. In 1944, while flying a reconnaissance mission for his French air squadron, he disappeared over the Mediterranean.

Discover more of the author’s books, see similar authors, read book recommendations and more.

Discover more of the author’s books, see similar authors, read book recommendations and more.

The eye stops in front of the Hemofiction painting. Observes shapes, colors, and structure, it self mesmerized. Desires to comprehend, looking back from a previous time, worn out. Attempts to enter lateral invented reality through a known door, but uses the incorrect key. Attentive eye, but conditioned. Curious eye. Was it going to speak proudly of its knowledge?

What do I see? – asks the eye in continuous excitement. Hemofictive shapes that escape like smarmy fishes. Luciano Trigos’s pictorial sense refuses to respond positively to custom. I am eye, should be able to see- the observer says with a certain rancorous air in his usual gaze-.

The eye that claims or wishes to admire the unwonted requires tutelage. The disciple eye submits itself to surprising design and, does it look again? No, in reality it touches, it creates visual hands that reach out to caress the canvas and wooden frames. The eye, reeducated, gropes hemofictive forms. Colors and perspectives come to it in an open manner, vibrating. Wanting to retrocede, the eye wishes to perceive the pictorial dimension in an instant, but the painting’s reality divides, it sets diversity of centers at the sight, it seems the painting does not desire to be a painting, and in contact with the touching eye it becomes restless, aggressive, as if it were being watched through a microscope. What I see transforms to pure beauty. The eye insists, inserts, accomplishes at last to detach an apparent totality, but discovers itself walking in an aesthetic surface right away, it is a wayfarer that steps, barefoot, in fragments of another reality attached to the first. Then, annoyed, decides to focus again.

Luciano Trigos does not recreate images, he produces Dynamic Abstract Chromatics. The artist sets off in observing, where personal creativity is the center. He sets the eye in first place and completes what could be spaces full of aesthetic cells that reproduce in unusual senses.

The eye roams with its own unrefined resources: shape, movement, color. The cosmos is by no means, the way Luciano Trigos paints it, it is worse- the artist’s aesthetics tries to make up for God’s faults or in some way, adhere to nature’s constant birth giving. Luciano Trigos’s paintings are product of lateral, germane vision. Plastic cells are born, they grow and reproduce inside original, abstract form and at the same time, follow a kind of autonomous development. These spurious Hemofictous beings are displayed towards objectivization, they wish to be touched, they desire to enter as fact to the three dimensional world and offer concrete possibilities to the receptor.

Juan Trigos