Imaginary Graffitis
PAINTING PROJECT STARTED IN NEW YORK, USA IN 2006
"Boesmi's painting occupies a limited yet semi-open space. Perhaps its singularity, and its autonomy at times, are defined as much by the narrative of his proposals as by the specificity of his technique. The artist creates invented spaces, halfway between dreamlike figuration, calculated discourse, and unbridled fiction. They are landscapes or dimensions with no references other than their own forms and colors. On the one hand, these places—dystopian at times—are inhabited or traversed by abstract signs or clearly representational forms, disconnected from one another, detached from any support (mutant animals, human profiles, and truncated objects). They are beings with indecisive contours, incomplete organisms or those in the process of formation, perhaps spectral signs: the secret passages between the environment, human subjectivity, and the digitization of the world produce intermediate stages, sketches of bodies in transit. On the other hand, the abstract strokes that seethe in the work aim to become part of a writing; they are post-verbal letters or glyphs, fragments of statements or figures of an unknown language, endowed with the same expressive value as colors, textures or forms. Painting itself must be approached in the key of the great rite of passage that is Boesmi's work: it projects itself beyond the flat and the object-like, and enters into the unreal domains governed by virtuality, without abandoning its pictorial identity.” (...)
Ticio Escobar, 2024. Excerpt from the exhibition text for Too Many Things at the Matices gallery, Asunción, Paraguay.
"Speaking of... magic flowers that buzz, animals of fabulous elegance, abysses of azure, wells of fire and a possible place of moons and comets... forests and birds, clocks that do not chime, tame beasts and murderous minstrels. And clouds that crowd over an eternal sea of hot tears. As you can see, Sebastian, Rimbaud's Illuminations come to mind. They are his words."
Adriana Almada, 2016. Excerpt from the curatorial text of the Megawatts exhibition at the Casa Mayor gallery, in As PY.
"What is written about a city is memory, dissent, simulacrum. Imaginary Graffiti does not document, does not imitate: it invents. Here, painting and drawing become an act of memory and simultaneous construction, a visual paradox that plays with the authenticity of the spontaneous and the deliberation of the pictorial. This is not a tribute to graffiti. It is its ghost and its shadow."(...)
