Jesus Alberto Erminy, Caracas, Venezuela, 1961. Bachelor of Electronic Engineering, Wentworth Institute of Technology, Boston Mass, Master of Biomedical Engineering, Universidad Simón Bolívar, technical support at IBM, Biomedical Manager at Hospital San Juan de Dios, Research group of Biomedical Engineering from the Simón Bolívar University   While I was doing these jobs I combined them with my passion for art. At the same time, at all times, my brain was open to creativity and imagination in the circumstance I was living. It has always been an irrepressible impulse. I could say it emanates internally within me. All materials have a life and my mission is to rescue them from waste, give them a new perpetual utility through art.  All the creation that I have been able to do so far I have had the opportunity to exhibit it in different museums and institutions, among them I can highlight: IVIC, Venezuelan Institute of Scientific Research, Simón Bolívar University, Jacobo Borges Museum, Salvador Valero Museum, Alejandro Otero Silva Museum , Museum of Contemporary Art of Cumaná, Festival of creations of Menorca, Forecast , Claustre del Carme, Fiestas de Gracia , Recycle, Dr. Orfila street exhibition, sponsored by the Athenaeum and Mahón City Council.  The work I do, from what I have been able to verify, has many reading levels since it reaches both children and adults. Today's world is taking us away from a benevolent symbiosis with our planet, which is as alive as we are. I want to transmit that union we have with the creative energy that surrounds everything, and recognize how any action we do has consequences at all levels. Hopefully my work can serve to awaken the mind of the observer. I invite you to my page jesusalbertoerminy.net 

Temporality Absence of the Permanent

Fortunately, this sculptural assembly manifest in a powerful and strong physical present and they express with such vitality, that doesn’t require an instruction manual to learn to appreciate them. They know well how to transmit their meaning without help.

              Although, is wise to warn that these sculptures are not conscientious. They are not properly sculptures, in the common sense of the term, in the meaning of articulating volumes and emptiness in an ingénues and attractive combinations. They aren’t realistic sculptures, nor do representative, nor do descriptive, nor do abstract, nor do conceptual, nether correspond to either of this movements or tendencies, more or less advance.

             This, of Jesus Alberto Erminy are symbolic, they are symbolically unfathomable and obscure. Because, the spectator could say that all the named or almost all are also symbolic.

             The truth is that this word swells in its meaning and now symbol is something that occupies the place of other thing and represents it. The Structuralist extended the meaning that the linguists gave to the symbol and now they applied to everything.  That is the first level of symbolism. With that same term it can be addressed other things very different until arriving to this ultimate symbol, the most profoundly, that does not represents anything and it cannot codified or be reveal its code, nor be describe, because it prevails guarded and enigmatic. Furthermore, the symbolic is always incontinence. The symbols are in the center of the physic life; compose the key to the unconscious and the oneiric world.

             At the beginning of this lines was said, in an entangle way, that “Fortunately” this assemblies didn´t need no interpreter. And, not by fortune, but thanks to the talent, the sensitivity and the intuition of Jesus Alberto Erminy, who has the ability to instantly connect himself with his unconscious and to maintain with it a permanent communication through his sensibility and his intuition.  He has learned to manage that faculty at will. Before he operated in a spontaneous way and now is voluntarily and more complex.

             In his previews sculptures he used to manifest the violent crash between his two components, one of them, the basic, keeping his present. Consist, of a rock, a big antique wood block, a piece of an old rusted machine or a ruin vestige or shipwreck. In absolute contrast with the crude brutality of the previous is the other component. Which it was a flimsy, fragile or delicate element. With the solidity of its corpulent base he expresses the temporality absence of the permanent and immutable, and it evokes the sense of eternity. That way is evoked the antique Chinese opposition between the rock and the cascade, “and, the rock of Israel”, or of the Moisés desert, or of the Sísifos, without been any of them. The other element suggests illusionary present of the spiritual and the human.

               The temporality absence limitless and eternity prevails in the contemporary sculptures, but it contrast with a variety of other opposites and in different levels or areas of performance and comprehension. Other component that maintains as fundamental matter is the oneiric, what is expressed in dreams, as source and transportation of the inspiration of souls. Also, it is proper of the expressive content and the symbol vectorial.

             Jesus Alberto´s intuition is so untimely and spontaneous that he himself is not capable to perceive all that it conceals in the profoundly outcome of his sculpture that unfolds so easily.

             In order to be syntonic with this sculptures and been able to dialogite properly with them, is proper, without pressure imply in the word, let the centripetal force of its fascination sweep you off. For that, as advice by Gastón Bachelard, “You most know how to dream about dreams”. In dreams is manifested the same complex, effective and vectorial nature of the symbol. And unfold for us with the same, difficulty or impossibility of interpreting. The symbol is compose with the same immaterial substance of the oneiric.

             If Jesus Alberto Erminy performs with those symbolic materials that finds in nature, is because in that sense “the nature dreams in him, dreams insight him, or through him”. Like Raymond de Becker said. “Each symbol, according to Adler, tends to make real an impossible finality”. “The symbols, as Rzaca Ratzimamanga said, prepare us to live in the unreality”. Something which is useful in the Venezuela that approaches. In this sense is proper to quote, Antonín Artaud, when he declares : “The symbols are like the prelude of a life that leaves”.

             Is essential, not to forget that symbols come charge with a psychic energy exceedingly powerful. Not dismissing that can produce a rupture in the sense of reality.

                                    Peran Erminy