In Antipatrón, Damián makes a statement from within. He reveals his ability to share from his field of immanence the secret of his creative process. That, although structured, meticulous, and obsessive, it does not seek the conformation of codes to be replicated without error, but on the contrary, it is through the perceptual deception of the perfect diagram that manifests the difference of all the elements that make up the artistic work as an extension of man, inevitably imperfect.

What can be said that has not been said before about geometric abstract art, Op-art, or kinetic art that does not apply to Damián's work? It is inevitable to think about its origin and the great influence of the Venezuelan school of kinetic art with Jesús Rafael Soto and Carlos Cruz-Diez; We even find Vasarely, Rothko, Mondrian, and Rojo in satisfied nods. But his work is not just an influence, it is a tribute and continuity of the questioning and experimentation that these great masters started.

The visual result is also impressive due to its originality and technical quality. With this skill in perceptual optical manipulation, he has color as an ally with his intrinsic affective and psychological power to build, through panels finely assembled in the linearity of the thread, highly suggestive spaces due to their depth and the reminiscence of something much more universal that escapes the eye and human cognition. Damián turns the work into a metaphysical color that unfolds into vibratory frequencies of light worthy of special effects, inviting us to disintegrate and coexist spatially. It is here that the work transcends as an anti-pattern since the apparently static and predictable object becomes the portal to a dimension where the material, so important for the limited human visual perception, lacks importance.

Being in front of Damián's work then requires the will to live a kinesthetic experience, where emotional-affective relationships are exalted through color, light, and shadows, the multi-dimensional. The halo of memory must be allowed to remain in the memory, even if one is no longer in front of the image. It is about coexisting and conversing with the work, operating in a coordinated way, allowing oneself to be affected in an unexpected and sometimes coordinated way, and sharing, and influencing our way of understanding ourselves, and of perceiving and understanding the world.

Viridiana Gutierrez Tejeda