Francisca Blázquez ~ Space is the Place

Francisca Blázquez ~ Paintings, 2005

Francisca Blázquez ~ 2005

Ever since early childhood the Spanish artist Francisca Blázquez has claimed awareness of higher dimension realms including access and even contact with Sattvic (सत्त्व)  or Angelic beings of light. Her “New Age” paintings which I saw in Spain in the early 1990’s  were striking in their incorporation of technological transcendent imagery. This was my short contribution to a catalog from her 2005 exhibition at Jadite Gallery, NYC


Francisca Blázquez’s most recent body of work, a group if paintings subtitled Dimensionalismo, draws from several populist sources; spaces might be the more correct term. Blázquez has borrowed the indeterminate and fractured cyberspace of the Internet and the pre-packaged “Outer Space” of classic science fiction films, such as 2001: A Space Odyssey and Solaris. Within these moving pictures, a purely artificial visual dimension exists, expanding at a glacial pace and climaxing in transcendental spiritualism. The cosmic visual projections of Francisca Blázquez, her not-so-still-lifes, have a very similar aesthetic effect.


The Dimensionalismo paintings have been projected from the artist’s inner atmosphere, but with her odd shapes and patterns and clashing color combinations, Blázquez reflects on some very earthly concerns. She explores the classic paradigm of body/mind duality reinvented for the Age of Information.

Blázquez’s art world influences can be most easily located in the early neo-concrete experiments of Lygia Clark and Equipo 57. Clark’s groundbreaking geometric sculptures “demanded the spectator’s manipulation to yield their organic meaning.” These works, in turn, yielded their creator, sending her into deep philosophical speculation on the emergence of new technologies and aesthetics. Meanwhile, the Spanish team Equipo 57, with their “laboratory of ideas,” radically researched the second and third dimensions through painting, sculpture and furniture design, pushing life and art toward a total convergence. Half a century later, Blázquez is attempting to pick up these experiments where they were left off, incorporating ancient forms of artistic communication, like dance, with more current computer-based graphics.

1513109_F7._Mundos._F.BlaEzquezThough I’m uncertain of Ms. Blázquez’s musical influences, might I suggest the free jazz of Sun Ra as a soundtrack for the creation of Dimensionalismo. Space is the place indeed for artists who inhabit a post-religious world but still yearn for a spiritual dimension.

Mark Dagley ~ 2005



Declaration of Francisca Blázquez
(Channeled by the artist)

Francisca Blázquez ~ 1990

Francisca Blázquez ~ 1990

The Etheric Temple of Archangel Michael is in preparation for the coming of Christ over the mountains of Jerusalem in 2023.... Science and spirit will be one thing and the Christic peace [will] reign in the hearts and minds of all people and beings of planet Earth. The darkness will vanish, since light, love and power create good….this will soon be the reality of this new Earth…Humanity will develop into a perfect and harmonious junction, and happiness of God consciousness will reign in all places. There will be no limits. Space platforms with plant and animal life will be created... souls who are here will be able to travel to paradise and those found in other dimensions will come to Earth as they desire. We will walk alongside the angels, as brothers and sisters of light with divine powers to use for the common good. Everything will be given. Peace, love, justice, happiness and harmony will be the common dialogue on planet Earth. From the perspective of 2010, we can not understand how this will be possible, but this is a time of change and of transmutation. That is why there are strong shocks and events… transcend to the new light with confidence. The struggle between light and darkness is now clearer than ever. At present it’s powerful, but … think ahead… You’ve won, center in good, forget the negative…”

Francisca Blazquez, “Untitled” 1992, 20×16 in. Collection of Mark Dagley