“The interior spaces that I experience in meditation are converted into the landscapes of my paintings; the restlessness of my mind transformed into landfills. When I paint, I experience meditative states; through meditation, I achieve a union with nature, and nature, in turn, leads me to meditation.”
– Tomás Sánchez
If one word can best describe the world we’re living in now, surrealism has no equal. Seeing the empty roads and highways of the Dallas /Fort Worth-area that I’ve known my entire life is one of the most uncanny experiences I’ve ever had. I’m still trying to comprehend this slow-motion cataclysm and all of the chaos around it.
Tomás Sánchez seems to understand the concept of a surrealistic existence. His paintings truly exhibit that sense of isolation; something we introverts love, but that even we realize is not always perfect. Yet, in those moments of solitude, titanic waterfalls and endless canopies of treetops often embrace (almost swallow) a tiny nondescript figure with its natural beauty. The latter aspect is reminiscent of dramatic sunsets and massive ocean waves I’ve encountered; elements of the world that should render the most egocentric among us as humble.
“Aislarse (Isolate)”, 2001
“Orilla y cielo gris (Shore and gray sky)”, 1995
“Autorretrato en tarde Rosa (Self-portrait in pink afternoon)”, 1994
“Llegada del caminante a la laguna (Arrival of the walker to the lagoon)”
“Meditación y sonido de aguas (Meditation and sound of waters)”, 1993
“Atardecer (Sunset)”
Chief Writing Wolf 