From Studio to Gallery: Documenting the Artist’s Process

In the ARTIS ecosystem, understanding Ruben Orgye requires abandoning a superficial perspective. Behind his canvases there is not only pigment and oil, but also a constant negotiation with the ego. For Orgye, the artistic process functions as a dismantling of public identity to give way to private identity, the one that only appears when the artist is left alone with his own shadow.

The Dialectic of the Element
Orgye’s handling of materials is not accidental. There is a palpable tension in how he works with the elements: the paint is not applied, it is imposed. The use of anatomical distortion is, in reality, a projection of the wounded or expanded ego. He is not painting bodies; he is painting the weight of existence. The abrupt strokes and superimposed layers are the sediments of his own doubts and certainties.

Orgye as a Channel
What happens in the intimacy of his studio is a «transmutation of the self.» Ruben allows chaos to take over, letting instinct prevail over academic reason. It is in this lack of control that the ego surrenders and the true work emerges. Curatorially, we value Orgye not for his ability to represent reality, but for his courage in presenting his own psyche, flayed and exposed, without the filter of aesthetic complacency.