ARCHITECT OF HIS OWN DESTINY

The work of architects, composers and poets has always been enigmatic to me and, for the same reason, fascinating. When mathematics organizes the creation of their work, it becomes irresistible to me. It is known that they use, in order to compose and move blocks of words, systems-sometimes obvious and sometimes complex, to me unavoidable- and among them, the architect is the only one that can turn these into 3D.

  Architects, unlike poets and composers, sometimes seem to go through college as a mere bureaucracy to then go and create “something different” and to do it better than the rest of us: editing books, painting, writing, obsessing.
  Rodolfo Díaz uses complex systems to question, alter, permute concepts and objects that are known to us: from a wallpaper or a brick to rubber balls, from the basic precepts of the use of space to muralists methodology. Sometimes the work itself explains to us how it is made through the use of pattern (or its absence): repetition, form and sequence…other times those same characteristics obscure the processes of Díaz and we are able to glimpse merely a subtle, patient, thorough, almost monastic and “a bit neurotic” work (words of the artist, not mine).

  Through the use of self-imposed methods, Rodolfo questions sculpture and architecture: their rules, their composition and their design. He intervenes common objects (a brick transformed into urban landscapes) and canonic images (David as a canvas to all the possible permutations of a square) with as much endeavor as irreverence.
  Besides sharing Baldessarian sympathies, methods and subversions, the work of Rodolfo Díaz follows word by word the statement of this conceptual pioneer: “I will not make any more boring art”.

Daniela Franco