In all things of nature there is something of the marvelous -Aristotle ‘Parts of Animals’

Atlantida presents an imaginary journey through the seven islands, experienced as an interchange between image and sound, charting a conversational movement of colour, music, texture and light through the natural world.

Combining natural footage and sound, the work transforms and mutates across the borders of recognition: footsteps become rhythm; wind become melody, as cinematic images reflect, compliment and contrast the soundtrack. Mink and Scanner share a restless desire to search for the extraordinary in the ordinary within this landscape, the colour in the darkness, the sound in the silence.

That nature that appeared for the last time in Romanticism as a plenitude of the shipwreck is still conserved as a remains that ought to be thought, though we are equally aware that, as happens in Domingo Sánchez Blanco’s allegorical work, there is no possible reconciliation, nor allusions that will complete a symbol that can be reduced to the name.

“What can be transmitted in a symbolic interchange is always something that is as much absence as presence. It enables a kind of fundamental alternation which, after appearing in one point, disappears to reappear in another”1. The hybrid territory that interests this artist is ultimately rendered in a process of mental sculptures, deep prints that produce a derive of meaning, incitements to walk, testimony of somebody who has reached the very roots of a problem alluded to in the dimension of the erased and inexorably present earth.

Jacques Lacan: “La función del velo”, in El seminario 4. La Relación del Objeto, Ed. Paidós, Buenos Aires 1994, p. 154

Fernando Castro Flórez “Show. Domingo Sánchez Blanco” 1997 p. 118