Our vision of Art is defined under a concept that arises due to the need we have for explaining the processes involved in the cycle of art. Art Ellipsis crystallized when we fused our understanding of art with the narrative device known as ellipsis, which is used when the idea the author wants to convey is so clear that needs not be mentioned explicitly, but is rather understood tacitly. An example are the points of ellipsis, which are the three dots (…) known as suspension points. Thus our concept conjoins both ideas: Art and Ellipsis.

At the same time Art Ellipsis is useful to describe our job, for the visible part of the work (the work of art), is as important as the work that is not perceived by the spectator (which includes tasks such as selling the œvre and positioning the artist). Therefore Díaz-Rentería takes care of the duties that remain unnoticed by the public so the artist can focus on the part of the work that is indeed visible. In this way, the sample of our work is tacit insofar it is only visible through the quality of the work envisioned by the artists with whom we collaborate.

At Díaz-Rentería we believe the concept of Aesthetic Experience to have two occurrences: the Aesthetic Experience as creative impulse (when art is made), and the Aesthetic Experience as a product (or reaction) of the subject that perceives the work of art –these are the kind of aesthetic experiences we have as spectators.

This means that in the presence of a work of art that may not be necessarily legible, the spectator will invariably have an aesthetic experience. And although such an aesthetic experience (as reaction) may not be the one that motivated the creative impulse of the author, it needs not be so in order to communicate something, for the spectator will always have a subjective interpretation of the phenomenon. Art Ellipsis represents our intent to amalgamate the Aesthetic Experience intrinsic to the work of art, with the essence of Art as a language.

Note: we are aware that the present text surmises some concepts and ideas that remain subject to debate in academic aesthetics. For this reason we are currently working on an extended version that will be available in PDF. Meanwhile we will be more than happy to clarify any question you might have.