✦ PRIDE ✦ 12 DE JUNIO ✦ JOHN HOLLAND GALLERY ✦ LEPE, ESPAÑA ✦ PRÓXIMAMENTE ✦

Order in Chaos (2025)

LAW AND ORDER IN SEBASTIAN BOESMI
Javier Díaz-Guardiola. Guadalajara (Spain), July 20, 2025

A person with a fluent way of speaking and a relaxed demeanor, there's one question that, nevertheless, would put me on the spot every time he's asked it, if I were Sebastián Boesmi. And it shouldn't be a complicated question, especially when it touches on something so basic to his biography: "Sebastián, where are you from?"

Technically, our artist was born in Salta, Argentina, in 1980. But his formal training took place at the National University of Asunción in Paraguay (he is very clear that this is his context), and was later completed in New York (Art Students League). He currently lives and works in Madrid, Spain. In between, he has spent varying degrees of time in Johannesburg, Paris, Berlin, Amsterdam, Miami, and Barcelona. It's understandable that he finds it difficult to define himself. And it's understandable that his work deals with displacement and identity.

“I’m interested in hybridity , in what defies rigid definitions,” she explains. “In this sense, I seek to decolonize what I’ve learned, dismantle what’s given, question the established order, and imbue what is taken for granted with new meaning. Through my images , I reconstruct narratives and imagine a dialectic between what seems fixed and what is in constant flux.” In this context, it’s hardly surprising that this project for the Matices gallery is titled “ Order in Chaos .”

And at the heart of it all, painting (or drawing, which is what structures it). But also technology. After all, painting itself is a technique. Boesmi reminds me of Donna Haraway and Ursula K. Le Guin:

To use the world well, to stop wasting it and our time in it, we have to learn other ways of being and existing in it. ” 1.

For both thinkers, choosing the right tool is crucial for our survival, or rather, for our appropriate and harmonious interaction with the world and the other creatures that inhabit it. At this point, Boesmi takes me directly to the heart of her work, to her " tool ," and, in this sense, she speaks to me of the biological—and also philosophical—concept of autopoiesis, that is, the capacity
The ability of any system, especially living beings, to reproduce itself and maintain its structure over time. That is, it is the capacity of the whole to continuously generate its own components and maintain its identity through internal processes.

Why not apply that to the painting process ?

Our interlocutor confesses to me that this would be his last investigation into technology, his way of dealing, for example, with the push of Artificial Intelligence, which, obviously, is here to stay.

Boesmi is training a loRA (or low-rank adaptation), or in other words, a programming system that allows adapting large machine learning formulas to specific tasks with the fewest computational resources.

In simpler terms: our artist uses AI to "teach" it to identify its own paintings, its own works, so that it obviously doesn't end up painting exactly like him, but rather so that it provides quick solutions, small sketches, of possible approaches when he himself has to face a problem. And, obviously, as a human, he is the one who ultimately decides whether or not to heed the response.

Isn't this bringing some order to chaos ?

And above all, it's about taking a stand, because, as McLuhan announced decades ago, the medium is the message , and the sooner we 'make peace' with tools that are irreversible, the sooner we'll accept the evidence. Furthermore, history always proves us right, and neither photography killed painting, nor acrylics killed oil paint .

So, let's return to the paintings Sebastián Boesmi presents in this exhibition and accept that, through them, he explores the concept of displacement, of camouflage. Undoubtedly, the indexicality and self-organization of his elements, sometimes more figurative, sometimes more abstract, are also explored. Order in chaos. Art itself also represents an attempt to generate a certain order within that chaos, this artist reminds me, which now brings to mind José Bergamín's 'The Mystery Trembles.'


'Picasso Furious' 2, when the Spaniard speaks of ' painting well ' and 'painting badly ' while reflecting on Goya. Painting badly can be painting well, because painting well is doing it as one wants. Boesmi paints in an effort to find in contrast not what differentiates, but what marks the alternative (putting the organic into dialogue with the artificial, the complex with the simple, light with shadow, the stain with the firm stroke...), or what allows the encounter of the disparate.


If we turn to his sculptures, these again represent another kind of displacement. He calls them 'clandestine curatorships' when he deals with those neon lights that manage to bring into the gallery artificial forms (a graffiti that someone left on a wall) or natural forms (a lightning flash), all of an ephemeral nature, which materialize into something static in the exhibition hall.

And what about his ' piano bulls '? They are characters that allow him to expand his painting, to experiment with materials. Don't be fooled by their innocent appearance.

Sebastián confesses to me that, having been born a migrant, he has practically no tangible mementos from his childhood, no toys at all. In a way, ' Piano Bull ' (which by the end of the year might also transform into a puppy or a teddy bear) is the only one that 'survived,' since he constantly drew it in his notebooks, so that in an intangible way, through art, it was always with him. His arrival in Spain gives this icon a new meaning, given the strong symbolism surrounding the bull, closely linked to power and a certain masculinity that Boesmi tries to break with his work (and that's why its color is sometimes pink , currently associated with the blurring of gender lines but which once identified great men, hence why bullfighters still wear this color). His character thus combines sensitivity with strength, although this strength comes from within.

Painting also expands , not only spatially but also temporally , in Boesmi's work thanks to video.

In these proposals, the artist collaborates with other creators (Camilo Moreno and Javier Rodríguez) in a desire that the movement allows to crystallize an image of the invisible in a world like the present where the bombardment of images already prevents us from generating a real image of what is happening.

Once again, chaos without order and the desire for control . It's the digital pixel versus the microorganism or the boundless cosmic nebula. And all of it, as you yourselves can deduce, with its own autopoiesis.

Let us then surrender ourselves to the enjoyment of the work of an artist who conceives of his art as a continuum, in which each piece is merely a part of something larger, where each element fits with the others, generating a rhythm and reinforcing his message. Perhaps the message is camouflaged in the fluorescent colors, in the animated forms of his sculptures, in the hypnotic rhythms of his videos.

Don't worry: they'll overcome it easily. It's a matter of accepting the challenge and realizing that you yourself are the chaos within the established order . They'll thank you for it.


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