The landscape appears in western iconography as subjected to the background, as a mere aesthetical element or as a symbolic reinforcement of the represented thematic that is placed in the first plane; and it is gradually tha the landscape starts to figure as a mirror of the world as it transits from its iconographical charge. This correspondance becomes dynamic: while it still being a topos (1), the landscape becomes potent and turns into a protagonist of its own representation. 

​

Along the path of Daniel Martinez in the pictorical field, he has evolved into a proposal where the environment has been codified to a synthesis of geometry that determines nature and the civic planes where we perform socially and culturally. It is about a configuration of a convergence whose representation could be denominated as "contingent abstaction"(2); that is, it can represent nothing but its authonomy or it could be possible to recognize the presence of surfaces that remit to a synthetized formality of what is recognizable, in this case, the landscape as something tentatively disposed between intuition and the Cartesian.  

​

These perspectives raise diverse questionings: about the condition of the constant transformation of what is urban; about the evolving processes of culture as related to the configuration of the place where it occurs; about the ocurrances of our social ways that relate to systems that dynamize space, while also making it controlable, such as architecture and urbanism. The complexity that this detonates pretends to opperate as a fragmented scheme arranged in sets of chromatic ranges and diverse formal facets of scale, aspect, athmosphere and structure, turning them into significant planes that can be perceived throughout the artist's oeuvre. 

​

1.  From Greek “place”; also in reference to the common rethoric. 

​

2. The term is coined by the Venezuelan curator Cecilia Fajardo-Hill, in her essay "Contemporary Abstraction in Latin America".