While chaos, during the preceding period, is present in my artwork more as an assumption than as an objective to achieve, in the end I could state it theoretically. Chaos is not disorder but the actual order of things in a permanent mobility condition. Every concept of order is not useful because it is static and partial. To assume chaos in the field of image is to understand the abstract dynamics without excluding the individual realization.

Thus, at the beginning of the new century (in particular, as of 2002), the abovementioned concept guided me to plastic redefinitions in order to propose an image of the contemporary world under permanent mobility—where thousands of order worldviews live together presenting themselves as absolute, and representing, on the contrary, the best example of their relativism. This period is characterized by: again, reference to the plane to support the artwork; the abstract orchestration of the latter, beyond the multiple figurative references; and the valuation of the line and color relationship to determine an enveloping rhythm. I am interested in exceeding the boundary between drawing and painting.

The base of the artwork can be paper, fabric, wood or even a digital print. In today’s world, I believe the concept of painting must be understood as the art of image (as a worldview) beyond the method applied to achieve it. But my way of dealing with it continues to be a manual one. I state this because, perhaps, a constant concern that goes with me in my trip is the limit of painting as a suitable means to reflect today’s world, that is, to achieve a current imago mundi. I believe that as digital art itself does not reflect the network world, painting-painting is not condemned either not to achieve it. With this purpose in mind, in 2009, I made two large artworks (it could be said, two installations on the wall), one of them made up by fragments on irregular frames, which was my artwork sent to the 53rd Venice Biennale that year.

In this period I continued with my theoretical-artistic approaches, that materialized in two publications: Wittgenstein: éste es el caso (2005) and Noescritos sobre eso que se llama arte (2007). The latter is a collection of texts written during a period of forty years, that is, from 1966 to 2006. Also, in 2003, a comic version of Recontrapoder was published that I jointly wrote with Nahuel Rando: Las aventuras de Recontrapoder.