Fifteen years of utopia ... paint on the purity of self-isolation, the fragile and transparent world which have nothing to lose .... Mario Patio The number fifteen I remember the neighborhood celebrations, like the liturgies of their antagonists, are expressions of mainstream culture. There is something more conventional cake and the waltz of fifteen years, with the presentation of the birthday girl in society, the discourse of ostentation godfather and father? S, only there. Mayor convention is the contempt that the celebrations of this kind arise in areas moderately enlightened, supposedly educated and inexplicably rich. The majority of book launches, the opening cocktail and gala concert, with its supposed superiority imposed and does not represent more than the other side of the same culture in which art is comparsa and celebrated is the main power, and reiterates his sponsorship speech znganos queens and always. However, while the ritual of Quinceaera offers genuine candor, real emotions, real cursilera, its complement and counterpart only offers the simulacrum, the spectacle of the blue, the consensus servile corrupting patronage. Given that culture only seems possible the art of denial: the work of someone who denies the full force of his individuality. Because, after all, everyone celebrates as he can and, above all, as he pleases. But what distinguishes the art and the artist is his will, that is its strength to stand apart and against the whole range of tastes good, bad, worse and better. In his book Teora aesthetics, Theodor W. Adorno asserts that culture is the scope in which the individual is opposed to the masificacin. The totals ms society, the more perfectly is reduced sta a monochrome system, both more in the works of art, which combines the experience of this process [totalizing, totalitarian] becomes its opposite. For Adorno, art comes to the aid of the non idntico, of the oppressed in reality by identifying our pressure. And if the established culture oppresses and massification, only through its absolute negativity art can express the inexpressible, the utopia. As, in the purity of self-isolation, the fragile and transparent world which have nothing to lose, Mario Patio has transmuted his refusal in a continuous transgression in a steady profession unconventional faith. His entire work in its various little, has always been a response to the ravages of a hostile reality principle, a documentation of their own and others declines. The fluorescent acrylics on canvas, 1994, and on wood, 1998, to the crowded resort graffiti, hammers and pieces of cloth instead of brushes and creative career Patio Mario wears a sharp talent and rage that perseveres in finding the fair traduccinms chaos. In an environment of mediocrity gremializada, this artist stands out for the force that gives it its refusal to subordinate their aesthetic proposals and policies to economically and joint interest politics. In the words of Cuban critic Juan Antonio Molina, Mario Patio is one of the most powerful figures among the artists currently working in the state of Hidalgo. Only allow me to add that the marginalization and dignity not only give strength, also make it unique. Modems at the creation of Mario Patio is not static, not standing still and, recproca, does not allow the stillness of the observer. In addition, while we are assaulted his figurative work, abstract work but preserves idntica aggressive moves across the width and the depth requiring agility and, at the same time, openness and extreme attention by the witness. And the result, both figurative and abstract as it is the same: a radical questioning of the modern, light to inhabit the dark areas, light incorruptible, policy consistency and aesthetic strength. With prospects unrealistic and arbitrary vanishing points, Ascom with multiple lines of horizon, backsliding in predominantly diagonal strokes, the most recent stage of the artist is characterized by achieving a balance between the excesses of spontaneity and signs carefully thought out. Because now the artist has imposed the obligation of expressing their desire for tolerance colrico through themes and technicians where opposites coexist: transparency to enhance color saturation, brilliance Umbrian, violentsimas tenderness, the presence of pain and anguish of absence, conjunction of the rational with the irrational, the emotional with the impassive, as visceral spiritual refinement. More than a break with previous work, the recent work of Mario Patio marks a transition countries. The figures without neck and accentuated the disintegration horny robot, denounced the escisin between mind and body, morality and behavior, desire and satisfaction, unity and diversity. Now, more than denounce the disintegration, the synthesis undergoes a strident, forced her to a dialogue of civilization and makes it appear more comparable and thus more fierce, more lethal , more subtle. With the vertigo of knowing that the clock is ticking to indulge with mortals, between pleasure and utopian, Mario Patio celebrates another fifteen years. No sponsor or ms ms candles burning solitude. AR, Mexico 2004