Concept

Pablo Díaz-Carballo’s contribution to contemporary art is part of a deep investigation into the concept of the inner self, using the metaphor of the house of the mind as the central axis of his work. This metaphor allows him to articulate a symbolic space where the structures of consciousness, memory, and internal conflicts are explored, representing the human being as a complex entity, with multiple layers and mental rooms that must be discovered and confronted.

The “House of the Mind” as a Conceptual Structure
In Díaz-Carballo’s works, the house of the mind becomes a representation of the introspective journey. Each architectural space—windows, doors, stairs, dark basements, and the search for the exit—reflects psychological and emotional stages of the human being. The windows represent views toward the outside or toward moments of personal revelation, while the doors symbolize decisions, opportunities, but also emotional or intellectual blocks and barriers. Stairs act as metaphors for ascension or descent in the psyche, indicating the evolution towards a greater understanding of oneself or the descent into the dark corners of the mind, such as the subconscious and repressed traumas. The shadowy basements refer to those hidden and often unexplored places of the mind, where the deepest fears, unprocessed emotions, and truths we prefer to avoid reside.

Ideoart and “The Good Gripe”
In this context, Díaz-Carballo’s work “The Good Gripe” can be understood as a manifestation of the concept of expanded art. Ideoart, which advocates the fusion of idea and concept as the core of the artistic work, is central to her practice. In “The Good Gripe,” Díaz-Carballo plays with the idea of ​​a metaphorical cultural illness, something that affects the individual from within and forces him to retreat, to take shelter in that “mental house” to heal, but also to review the psychological and emotional structures that sustain his being.

The cultural flu, seen from this perspective, is a transformative event, something that shakes the body and the mind, forcing deep introspection. Instead of seeing it as something negative, Díaz-Carballo presents it as “good,” as it is an opportunity to reorganize thoughts, confront the shadows in the basement of the mind, and finally, find a way out to the light. It is a process of mental and emotional purification, a cycle of isolation, introspection, and, eventually, healing.

Expanded Art and the House of the Mind
The concept of expanded art, as developed by Díaz-Carballo, extends the work beyond the traditional limits of painting. In his creations, ideas are just as important as physical objects. “La Buena Gripe” is not simply a painting or an installation; it is a metaphorical experience that involves the viewer’s body and mind into an entrepreneur artwork model. Díaz-Carballo invites us to explore our own “mental houses,” to confront the dark spaces we avoid, and to reflect on how crises (represented by the flu) force us to review who we are and how we navigate the world.

Relationship between the “House of the Mind” and Ideoart
The relationship between the metaphor of the house of the mind and ideoart in Pablo Díaz-Carballo’s work is inseparable. Ideoart focuses on the value of the idea as a work of art, and in this case, the mental house is the space where these ideas are conceived, evolve, and become visual or conceptual experiences. The house of the mind is a dynamic construct, in which viewers can see themselves reflected: facing their own fears, expectations, and desires. By moving through the different mental spaces of the work, the viewer is actively participating in the process of interpretation, thus completing the cycle of conceptual creation initiated by the artist.

Conclusion
In summary, Pablo Díaz-Carballo’s contribution to contemporary art is key to understanding art as an expanded experience that transcends the visual and the physical, leading us to reflect on the deepest aspects of the human psyche. Works such as “La Buena Gripe” not only manifest technical mastery, but also establish a dialogue with the viewer about mental and emotional illness, the process of introspection, and personal transformation. In this sense, the house of the mind becomes a metaphorical space where crisis meets creation, and where the mind reconfigures itself, through art.

The Concept:

Phenomenology and Perception in Art

1.1 Herbert Russell’s Approach
Herbert Russell emphasizes subjective experience and consciousness as key to understanding reality. According to him, perception involves not only detecting external phenomena but also accessing deeper dimensions of existence and truth.

1.2 Saint Thomas Aquinas and Sensory Perception
For Saint Thomas Aquinas, sensory perception is a gateway to understanding the material world and contemplating spiritual truths. Each sensory experience can lead to a deeper reflection on divine harmony in creation.

1.3 Mysticism of Saint Francis of Assisi
Saint Francis of Assisi offers a direct and loving perception of creation as a revelation of God’s presence. His mystical approach invites seeing beyond physical appearances and discerning the transcendental in every aspect of the natural world.

1.4 Reinterpreting Phenomenology Through Saint Thomas and Saint Francis
By combining Russell’s phenomenology with the perspectives of Saint Thomas and Saint Francis, we see how human experience, from sensory to spiritual, can lead to a deeper understanding of reality and a closer connection to God.

2.1 Introduction
Pablo Díaz-Carballo is a painter known for his work in traditional painting and conceptual art, eventually evolving into what J. Beuys refers to as the “Expanded Art Concept.” His work begins with the metaphor “The House of the Mind,” which started with his oil paintings.

2.2 Evolution of His Art
Díaz-Carballo’s concept of “The House of the Mind” evolved into a broader artistic project titled “The Good Flu” (“The Architecture of Thought”), and later transformed into an Expanded Artwork known as “Ideo Art,” merging human and urban architecture in a cyclical creative process that returns to painting.

The End of Academic Painting

3.1 Legacy of Malevich and Fontana
Kazimir Malevich and Lucio Fontana declared the end of Academic Painting. Malevich’s “White on White” and Fontana’s cut canvases marked a radical shift in art.

3.2 Painting as a Key Reference for Díaz-Carballo
Despite these changes, Díaz-Carballo continues to consider painting as a vital tool for solving conceptual problems in art. Since his early exhibitions at the Museo Jacobo Borges in 1999, he has integrated traditional painting with new media, such as video art, creating hybrid works.

3.3 The Expanded Art Concept
The Expanded Art Concept transcends aesthetics, addressing intellectual, social, and cultural dimensions. For Díaz-Carballo, art is a process defined by four stages: Painting, Conceptual Art, Expanded Art, and a return to Painting.

The Cultural Masterpiece: Ideo Art

4.1 Emergence of Ideo Art
The Ideo Art concept emerged from Díaz-Carballo’s paintings, incorporating the metaphor of “The House of the Mind.” This concept expanded into a Cultural Work that integrates fine arts, social sciences, technology, and educational innovation.

4.2 Impact of Ideo Art
Over two decades, Ideo Art transformed into a Social Sculpture, redefining the boundaries of Contemporary Art. This project directly influenced more than 4,620 students and over 15,000 people indirectly, continuing to impact Díaz-Carballo’s artistic practice.

Innovation in Artistic Education

5.1 Educational Innovation by Pablo Díaz-Carballo
In the High Middle Ages, obtaining university degrees such as medicine or engineering required first earning a diploma in Fine Arts. However, during the French Revolution and later during the Industrial Revolution, the arts were marginalized and reduced in the educational system, classified as useless subjects. Díaz-Carballo discovered that schools still educate students with a model similar to that of two hundred years ago, stifling divergent talents. He advocated for improving school artistic education as a tool to foster creative thinking, recognizing that the arts are essential for expanding the mind.

5.2 The House of the Inner Self and Andy Warhol’s Influence
Díaz-Carballo combined the metaphor of “The House of the Inner Self” with Andy Warhol’s approach to mass production. The importance of the arts in the Middle Ages and the origin of conceptual art with Giotto were also key influences. He developed art, music, and audiovisual programs to expand access to artistic education, impacting thousands of students.

Conceptual Art and Its Legacy

6.1 Influence of Marcel Duchamp
Marcel Duchamp argued that in conceptual art, the concept prevails over technique. This philosophy also influenced Díaz-Carballo, who explores the limits of art through metaphorical representations of the mind and consciousness.

6.2 The Metaphor of “The House of the Mind”
Díaz-Carballo’s “The House of the Mind” is a metaphor for the inner state of human consciousness. His paintings, using images like lights, shadows, and architectural structures, explore mental and spiritual conditions.

Exhibitions and Artistic Practice

7.1 Key Exhibitions
Díaz-Carballo has held numerous exhibitions, including solo shows at the Museo Tulio Febres Cordero and Museo Jacobo Borges. His work often integrates traditional painting with conceptual installations, inviting viewers to intellectual reflection on art.

7.2 Ongoing Artistic Development
As of 2024, Díaz-Carballo continues developing new paintings that reflect his ongoing exploration of the Expanded Art Concept. His studio remains a vital space for merging conceptual research with pictorial practice.

Multidisciplinary Art and Architecture

8.1 Interrelation Between Art and Architecture
Díaz-Carballo’s work often merges art and architecture. His project “The House of the Mind” serves as both a metaphorical and literal structure, combining elements of human consciousness with architectural forms. Through this, he explores how physical spaces can reflect and embody mental and emotional states.

8.2 Influence of Urban Architecture
Díaz-Carballo draws inspiration from urban architecture, especially Carlos Raúl Villanueva’s concept of “Integrating the Arts through Architecture (UCV)” and how it impacts urban behavior. His works often reflect the complexity of urban environments, questioning the boundaries between artistic disciplines.

Art as a Transformative Process

9.1 Role of Art in Social Change
Díaz-Carballo views art as a powerful tool for social transformation. His Expanded Artwork, especially “The Good Flu,” aims to influence and reshape social norms by fostering creativity and critical thinking. For him, art is not just a form of expression but a means to improve social fabric.

9.2 Art as a Means of Cognitive Development
Through his educational initiatives, Díaz-Carballo emphasizes the importance of art in cognitive development. He argues that engagement with art expands the mind, enhances problem-solving skills, and fosters a deeper understanding of the world.

Expanded Art in the Digital Age

10.1 Integration of Digital Media
Díaz-Carballo has embraced digital media as an essential component of his Expanded Art. He uses video art, digital installations, and interactive media to explore new forms of artistic expression, creating immersive experiences that engage multiple sensory levels.

10.2 Impact of Digital Technology on Art
Díaz-Carballo’s work reflects how digital technology has transformed the art world. He explores themes such as the poetry of consciousness, virtual representation of reality, and technological mediation of human experience, addressing contemporary issues while expanding the boundaries of traditional art.

Artist, director, projects and Community Engagement

11.1 Ideo Arte, Conceptual Art Projects (The Factory of Art)
Díaz-Carballo designed and directed his expanded artwork through projects for his company, Ideo Arte, which was inspired by Andy Warhol’s Factory. He hired artists, architects, and educators to apply his ideas from “The House of the Mind” to art education. Interdisciplinary collaboration was essential to his work, enabling the mass production of cultural impact.

11.2 Community Engagement

Pablo Díaz-Carballo’s journey in contemporary art and the practical value of art in fine arts education has been a continuous exploration. The expansion of his creative thinking process produce more that 300 paintings and conceptual art results. From his roots in traditional painting to his innovative work in conceptual art, and later the concept of expanded art applied to education, culminating in painting and graphic archaeology, Díaz-Carballo has transformed his artistic practice into a platform that makes significant contributions to the tradition of art, social reflection, and cultural connection.

His influence continues to grow and has had a substantial impact on contemporary art. Arelis Díaz has been a key collaborator in his work, serving as a project director alongside him since 1999. Together, they have made an important contribution to the fine arts of the 21st century.