This Omar Gatica exposition is his first individual one in the “Museo Nacional de Bellas Artes”. It represents the maturity of the body of art, resulting in a persistent and invigorated interrogation of the painting. Persistent and invigorating because of the multiple vicissitudes he had to face that without a doubt would have lead others to abandon their practice.

His love for it as a way of life have shaped his being in the painting.

When he wrote his degree thesis in the Faculty of Arts of the “Universidad de Chile” he named it “I, Painter” and that is his trademark as an artistic identity.

He never got caught in the webs of the new media, supports of conceptual speculations which have derived in an artistic scene of unlimited horizons, even though sometimes limited in results.

It’s true that he didn’t condemn these strategies as they were not in syntony with his commitment to the painting, up to a point to reclaim his history with painters such as Van Gogh, Morandi, Burchard or Couve. All of them of great influence to him.

The exhibition that we present today, marks a stage that shows another glance on the painting itself. An intimate relation between life and art arises much more, incorporating, with intensity, its own affection and emotions, like thus also its more personal bonds with its familiar surroundings, shocked in addition by the death of its mother and his own unthinkable circumstances of this funeral nightmare.

In this sence, the work presented here today by Omar Gatica is autobiographic; it moves you from the recovery of the family sense to the limits that life gives you, marked by the violent and uncontrollable gesture; it’s the nausea that provokes the loss of all ethics in human behaviour.

In the process of elaboration of its paintings, any distance between the body of the artist and the support, on which he paints, would seem to dissipate. It is a testimonial registry of a work of art in depth, where one should live life to its fullest in each outline, gesture, stain or spelling on the fabric

The instruments and classic materials of painting are not sufficient for him, and he resorts to the spatula, rollers, stamps, printings, rubber gloves, to notice his uncontrollable impulse of what he does. We said in the beginning that what we present is the maturity of a work of art in which the knowledge of the history of the painting and its continuous remodelings show; his biographical introspection that flourishes like never before, his wordly approach to the holy, that takes him to review it the sense of life and as such enter in a mental and visual reflection on the human couple, the maternal memory, the duel, the death

Painting is his second body from where to show and be showed.