In Distillations, Garcia contemplates the gradations of color used in his geometric Ojo De Dios public murals and studio paintings. In this body of work the isolation of each color elevates and transcends the color into a symbol or signpost for meaning. His concerns reside in the universal actions of observance, translation, and understanding. Each painting is a simplified example of how the external can potentially be perceived, internalized and misunderstood. Flat Montana 94 spray paint sits on a smooth surface adjacent to a visual abstraction of the identical color. That visual dissonance displays a potential hermetic understanding of a symbol, in this case color, next to the color itself. This understanding and, frankly, understanding in any context has all the indications of being a type of self-portrait generated in the limitations of the autobiographical experience. Each painting offers an opportunity for viewers to continue identifying and considering the limits of their own story.
