Advertising, professional stigmas or romantic ideals are buzzwords that characterize contemporary society. Evolution happens in the absence of a space for the “personal”, there is a refusal of silence. However this psychotic dimension is opposed by the development of leisure activities. Some are characterized by the throwing of objects such as the launching of the dart and the disc, the target, the match of the “fito” or the marble.

The warlike imagery is rooted in our culture. In childhood we are encouraged to give the shot. Build up toys, develop skills. Destruction is not considered, no matter the target. Fantasy is reality in a moment of pleasure alienated from everything else.

A vicious cycle invites the creation of a parallel world. A gradual way leads to loss of contact with reality. Here arises the shot as leisure, developed in spaces prepared for its practice. In an idealized nature we construct moments without expectation.

The decision of the shot is an instant that condenses in itself a history of thoughts. The need to capture this tiny dimension of time places an obstacle to painting. This couldn’t be realized from the real.

In this way, photography and video are proposed as tools to fix and compile the information necessary for the exercise of painting. Painting is the time for which it refers. The time it required. And the time that watches her. Like “A mental representation is elaborated in an almost hallucinatory way and seems to borrow its characteristics to the vision” (Joly, 1994), to construct a painting involves a preambular of analysis and research that must be abundant in register.

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