From these appropriations of Pinoccio I made a duo of paintings painted in acrylic that involved titles in a felt-tip pen, with the lettering rules we used when we were little. The two paintings were inspired by a work by the Colombian painter, Juan Mejía, who was a teacher of mine at the Cali School of Arts. This work in his exhibition entitled "Sentimental education."

The two works dealt with the theme of Pinoccio (remember that Pinoccio was a wooden character who wanted to have a true heart and that when he told lies, his nose lengthened, and the cricket was his conscience) I copied them from the images as in the storybook that I also knew as a child, but the paintings had the particularity of two titles. The two paintings indicated a dichotomy, a bipolarity, namely the idea of "Aisthetiké" (aesthetics in Greek) and the idea of "Poiesis". Two radically opposed positions of critical thought. As it is known that in the faculties of philosophy, there has always been this dichotomy between Ontology and Dialectic (this term refers to modern dialectic)(for example, too between Materialism-idealism). But, this was alluding to an essay by a writer named Donald Kuspit in a Colombian magazine "Valdéz", this essay is a translation by Bernardo Ortíz. "The Just Artist" was the name of that philosophical essay and it alluded to two ways of "being" of the artist, "the personalist artist" and "the exemplary suffering artist" more than being, but as that aesthetic premise of Theorodo Adorno says, "for and against, both are two aspects of the same movement." For me, this was the case of the artists Juan Mejía and Wilson Díaz, when they worked together you could see the two ends of the same rope. One more schizophrenic and the other actually suffered from "bipolar disorder", but after all, I thought of them both as corporealists and with that idea of a consciousness outside of them, which seemed very interesting to me. This diptych painting that I am presenting here pointed to the character of Pinoccio in two episodes, attending to consciousness outside of himself (to the cricket that speaks to him and advises him), and the apple (which could represent the sensory perceptions of taste, of taste, touch, sight, smell, etc) are behind him. It was for me that aspect of the "poiesis" that from the Greek is commonly translated as "fabrications" constructions, that seemed to me that little is taken into account in the world of the Art of Painting. Already in the second painting, we see Pinoccio with a completely opposite attitude, because now he vargas the apple in his hand and the cricket or conscience is angry, because Pinoccio has not paid attention to him. In addition to the idea of narrativity in Art, at the same time, these paintings show and parody dualisms and bipolarities that we already know. For example, between dialectic and ontology, or the "Aesthetic" vision of Art and another, the Philosophical vision of Art, which normally exist and complement each other, but which do not always go together, distance one from the other. As for Painting as such, this idea is the re-presentation of dissociation (presentifications) and association in tradition (subjugating under-representation of one to the other by turns in History), not of the "image", but of the Chart.