SINCRONICIDADES (Synchronicities) is the title that encompasses and includes certain “shared” aspects in the creative paths of Carlos Runcie Tanaka, Silvia Westphalen, and Ricardo Wiesse, placing emphasis on the overarching vision of a generation, sometimes forgotten, in an attempt to select the most essential works possible, when in fact this generation has been little recognized. Thus, we seek a way of seeing, proposing, and uniting in a single gaze, in a joint experience, similar and complementary traits, under a range of common denominators, corresponding to these three major artists, in a concurrence and coexistence of common, adjacent, and converging orientations, searches, and developments. At first glance, they are united, among other aspects, by the intimate and profound relationship that each participant establishes with his or her materials, a relationship felt deeply from the very core of their beings and exteriorized in lines, furrows, suggestions, traces, erosions, footprints, and certain incipient sensitive geometric patterns and iterations. It is through these insinuations that they point out the status inherent to the world of the visual arts, the autonomy of the pictorial or sculptural reality beyond any direct or mimetic reference point of reality. They materialize their materials, rendering the material nature of that material visible, and not only the “thing” in terms of arrangement or infrastructure. Obviously, there are insinuations of objects or landscapes, such as allusions to earth, desert, hollows, the land with clear references to or implications of calm, meditation, and silence, to the force of the elements and nature. The term Synchronicities, which loans itself to the title of this exhibition, is conceived of and understood from the standpoint of this concept as set forth by C. Jung, that is, as an a causal principle of connection that reveals and encompasses shared meanings: concomitant, general, universal. The concept alludes to the simultaneity of events, ideas, etc., linked by meaning and orientation, although not in a causal way. “Therefore, I use the general concept of synchronicity with the special meaning of the coincidence in time of two or more events not accidentally related that has the same or similar meaning.” To avoid confusion, “I differentiate it from the term ‘synchronism,’ which simply means the simultaneous occurrence of two events.” Carl Jung in “The Dynamics of the Unconscious.” There is a relationship of formal searches, which are in fact more like discoveries through exploration, an introspection beyond the well-trodden path or that which we might find at first blush, submerging and digging in order to extract and bring to light, to emerge with results of an implicit or implicated order, finding new paths and a range of structures in harmonious relation to the total structure: the part is in the whole, and the whole in the part. That is, if we take any element in the universe, in it is contained the totality. Thus, we move from the secondary manifestations to an implicit, essential, and profound order, where intuition plays the central role, a mediator between the mind and reality. The role or operation of the imagination is similar. The faculty of imagination works through an internal perception, conceiving of ideas in a sensorial way, whether they be visual or auditory. On the other hand, the rational world is stripped of sensorial attributes. Ratiocination works through linked processes. The imagination is a form of knowledge and intermediate exploration between the mind and the physical, overcoming and reconciling even this duality.