Main characteristics that distinguish the artistic movement
RELATIVE INFORMALISM
1) Color as the experience of an infinite reality.
Relative Informalism is characterized by a multitude of colors. It arises from the awareness that we tend to see only a small part of the existing colors. Our mind tends to conceptualize reality: the sea is blue, the mountains are gray, the earth is brown, trees are green, the sky is light blue. But beyond these habitual perceptions, there are subtle shades and gradations, color ranges that may escape our perception or go unnoticed. The sky can shift from blue to turquoise gradients, while light can transform greens from cooler tones into warmer ones approaching a brighter yellow. By temporarily setting aside the logical and rational mind, we free ourselves from the conceptual world, becoming more open and perceptive. In this way, our imagination can reach parallel worlds and infinite realities that can emerge only through intuition and imagination, becoming accessible through our creative vision.
2) Open form and the relativity of perception.
In Relative Informalism, line, form, and color express themselves openly. In the reality we observe, there are no absolute boundaries: we decide where to stop our gaze, choosing a subject and relegating the rest to the background. In a freer vision, everything can be subject and everything background, depending on our sensitivity and what holds value for us. People often fail to understand each other for this reason: each person perceives and interprets reality differently, according to their beliefs and habitual ways of relating to the world. By embracing the spirit of Relative Informalism, we recognize that reality exists as an objective fact, but each observer may interpret it personally, without the need to conform to commonly accepted views. From this perspective, open form and the multiplicity of colors play a central role, as they do not define anything precisely but rather decontextualize reality, leading it toward the dreamlike dimension perceived by the artist who generates it through the artistic act.
3) Freedom of imagination and relative meaning.
In Relative Informalism, every stain, mark, or color in the painting responds to the emotional and instinctive balance sought by the artist in aesthetic form. Not everything can or must be explained rationally—it simply exists as it is. Much like in life, things simply happen or exist, and it is up to us to integrate them by giving them meaning or letting them flow without assigning one. In this sense, painting becomes relative, as each viewer may or may not attribute meaning to what they see according to their perception. Ultimately, even the meaning assigned to something may not remain constant over time; our perception naturally changes. Thus, a shape that once appeared as a small lake may later resemble the shadow of a person standing nearby.
4) Painting as a sensory space, toward the development of creative perception.
This pictorial language, when observed over time, can draw our attention toward a personal inner freedom. It invites flexibility of thought, allowing us to grasp different perspectives that may change with our gaze or emotional state. It fosters the development of divergent thinking, encouraging us not to conform to common views but to cultivate personal and independent creativity. It frees itself from preconceived concepts and rigid structures of rational thought, often shaped today by technology and cultural standardization. In this way, painting becomes a territory of poetic resistance and a rebirth of creative freedom—a freedom that emerges through imagination and takes form in the visualization of our inner dreams.