"Ethereal Nymph" is inspired by the real person of Cristina Correcher Velarte; so there is a very strong link between the fictional character of the work and Cristina. "Ethereal Nymph" represents an aspect of my vision referring to the genius of Cristina, the synthesis of a series of skills of the elegant and even naive dancer, because she dances as she draws, and vice versa, like a seagull in the sky. Naturally, the work "Ethereal Nymph" acquires a conceptual nuance that escapes the limits of Cristina's humanity. Verbigracia, in the questioned work is present a symbology (the triangle and the circles, the chess chip) that can be attributed as cosmopolitan, for being present in the collective imaginary of important sectors of humanity ("important", in the sense of mass). This work also shows features of the movement of modernism, essentially by the sign of the feminine. The syncretisms of these symbolic elements culminate in the hermeticism of a game of sublime surrealism. A feminine, incomplete at the level of the form or of the drawing (arranged thus to give the sensation of someone with disembodied and metaphysical condition), is represented in the painting, between an atmosphere of blue tonality, almost in its totality. An obscure and imposing triangle interrupts, almost abruptly, the general composition of the painting. I can see represented in this work an effect that creates the illusion of a "double foreground", which consists of a delicate balance between the female figure and the triangle with the circular flash of green tonalities. I do not intend to make exegesis of avant-garde theories of art; by contrast, nor of classical theories. The aim is not to dwell on the multiple concepts alluding to geometry, which carry in themselves exceptional semantic entanglements. Nor do I intend to solve the codes or meanings that I have attributed to "Ethereal Nymph" through the creative execution of the painting. Under normal conditions, the creative process of my paintings is part calculated, part intuition. In this case, the work is open to the interpretative judgment of you as spectators.

      The first two photographs show the transition between the embryonic state of the work and the beginning of a more elaborate and detailed treatment of the technique. Particularly, I enjoy the initial phases of the works I paint, because they are spectrums of films that commonly stay with me. The spectator can hallucinate or suspect these layers of stages that are hidden in the appearance of the work that has been finished. But this one can not find those intimate nuances of which I nurture and strengthen myself, with the dream of strength. This is the state of powerful concentration, which opens the portals to new realities. Even photographic pruning can not reveal these subtle influences. You, as a good observer, suspect them, feel them, through the masquerade of the end and the flashing illusions of a work of art. The case of "Nymph etérea", its first phase, reveals the way in which part of the essence of the model (Cristina) has been captured, through a process similar to that of the N1 rays, the emotional rays, the celluloid and the spectrum of the young actress, in "El vampiro", by Quiroga.

     It is possible to find in the fictional character "Ethereal Nymph" a variable metaphoric state, which approximates the concept of its ontological and fantastic constitution. This nymph refracts the dress of the lunar blue light, to the simple clairvoyance of the circle that precedes the dawn. She is compared to a drop of salty rain, of the eye that was not drawn in the painting: golden half moon on the forehead. It is possible to conceive the notion of a mermaid among a marine bubble, under the desire of a sky that yearns to be its wings.

     Another interpretative variant, makes me think of this nymph as the reflection of La Maga, in the plot of "Rayuela", by Cortázar. An infinitely white light envelops the character of the painting, in the spiral of its own catharsis. Its essence is the stigma of freedom, which evades all social indoctrination. She is the dancer who, in the gyro rope of her dance, has reached the stratosphere.

     Not everything is enraptured in "Ethereal Nymph", there are tiny drives that transgress the unspoiled symbol of the purely feminine. Blue is the prelude to a desolate and cold universe. I see this as a criticism that goes against the misogynistic and perfidious acts that take place in Life. These rough edges can be found in the work object of the commentary, with the representation of the cube that opens a deep abyss in the arm of the character of the work. Also, in the separate arm, like the Greek sculpture, for example, the "Venus de Milo".

     To better illustrate the issue of transgressive impulses, I will place a fragment of the poem "La vida del maldito", by the illustrious Cumaná poet JA Ramos Sucre (the poetic phrase was reproduced in my mind, while trying to make the painting "Ethereal Nymph").

     There are elements present in the work that would allow other types of analysis to be developed, however, I prefer that you be the author of your own conclusions. The photograph in the lower part was made by me, from the spaces of the School of Visual Arts of Cumaná.

     Thank you for your reading, see you soon, I say goodbye wishing you many successes. Say Yes to the creative energy of art!