Miguel Antolin Nieto: Deconstructing Thoughts #TheNewOnes

We could consider Miguel Antolin Nieto’s personal profile a real gallery, a growing and interminable exhibition. This is because Miguel’s work, as far as his profile is concerned, lives of such a fluidity that it can be associated only and exclusively with a stream of consciousness. Each single image is, however, not a reflection or a re-proposition of the flow itself, but an extract from the flow, a crystallization of a specific detail that thrives on instinctive necessity.

Everything I am about to say is the result of my personal reflections in the analysis I conducted on Miguel on my own. In no way do I directly associate my suggestions and thoughts with what this profile is for the author.

Miguel presents us with images that are clearly abstract in intent, but kindly collected from tangible reality. He presents us with a series of sensations and actions, personal and personalized views and deconstructed thoughts that do not necessarily provide directly understandable material. And yet, his images speak explicitly: either you understand them, or you will never understand them.

The action on his photographs is minimal, but such as to conclude a visual discourse full of sensations and perceptions saturated in its uniqueness. It feels like he’s trying to add pieces of himself to better reconnect with a memory, studying a way to break the impossibility of reconnection.

Certain images may recall Franz Kline, others Klee and others De Kooning. The specific influences we can associate with Miguel’s work do not stop here, but that does not mean that his production is a mere copy of the past. On the contrary, his entire production moves fluidly in the space of reality and the capture of the details that strike his sensitivity is enriched by his original (in the sense of new and personal) interventionism which, in a completely explicit way for those who can understand him, enriches the atmosphere of the instant image conveyed by its need.

I can safely say that, in my opinion, his work can be considered today’s abstract expressionism, a new expressionism, a present free movement in a reality perceived with the instinct of a gentle muscular capture and its subsequent process of deconstruction of thoughts.

We are speaking of this: deconstruction of thoughts.

A further element that I find absolutely essential to the total perception of the work is his choice of including the name of a song in the caption, associating it with the image. Almost every single image has an associated song that expresses the personal intersection and explicit new vibrant realities within the work.

Miguel’s work reveals its complexity at the time of observation and listening, although the connection with his work may be immediate. The vibrancy of his expression is what the entire production of this new master of perception is based on. But all this requires, however, a certain tendency to contemplation and abandonment in these blurred details and interventions, in the spaces delimited by the black bands and in the irregular shapes that gently cling to reality but which tell of an intimate deconstruction of the thought they are part of.

I hope my reflections on Miguel’s work have been intriguing, and his marvellous work could interest you.

Let’s check his Instagram profile here.

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