Following the Second World War, Matta became fascinated by the possibility of rebirth, of rebuilding a world devastated by conflict. After breaking from the Surrealists in 1948, he departed from the meditation on the subconscious that characterized his Psychological Morphologies, and sought to create work directly connected to the political moment. Matta believed that the role of painting was “shaking the spectators to enable them to get a better grip of reality, of a reality which is not represented because it is life itself.” (1) The present painting, primeval, chaotic, yet filled with hope, embodies this dynamic spirit.
(1) Alain Sayag, "The Liberation of the Spirit," Matta 1911-2011, Valencia, 2011, p. 184
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