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Painting as an exercise where the ingredients play the main role, appeared in the American abstract expressionism, lets thinking the drips of Pollock, canvas that accumulated pictoric material, the big strokes of Willem de Kooning in his intermittent neo-figurative and abstract offer. The absorbed ingredients of the canvas by Helen Frankenthaler or the veils of colors that proposed Morris Louis. An adventure of action and gesture as an exercise that restore the ritual aspects of the artistic creation and randomly awards to the chance and the casually validness to patent results. Particular mithologies have taken a large sector of thought and the artistic practice. Within the painting exercise it has been perceived as a propitious area to execute such presuppose. Painting as an objective in itself, and as a practice of other languages, as the one done by the video art, performance and installation. Painting in all its instances has remained reinventing itself and analysing not only of its own environment but its own condition. Each time the way art is materialized become more suspicious due to the demand of the multiple motivations that hurry the artistic practice, if we said that many times the results have motivated post-conceptual results, in the desire to reconstruct the past, giving new breaths and incorporating actualized data, inso constructing pertinent reflections of contemporary circumstances.
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