“The Saltropomorphous” (The jump of an amorphous landscape), is the imaginative idea of a sub real abstraction of a linear moment of form, colour and volume; Beginning from the concept of an isolated landscape inside of a real or imaginary boundary of “amorphous space” that because of being in the light, generate a shadow or “mirror image” with opposite properties. Two ways to allow each an intermediate step to be an equilibrium state, and produce in a sense the “jump” of the amorphous body into its own unchangeable notions of time and space(s).
This creative and constructive process is based on a different approach toward thinking, in admitting if the image to build expects to determine what reality is and what amorphous reality is, or to produce a series of “images” with a correlation into an amorphous concept. The possibilities are endless, because amorphous thinking in visual terms is an inextricably bound up with sensation and perception. In many ways, how we think is how we see and vice versa. The same mechanisms operated on both the perceptual and the intellectual level, so, these inevitably terms like concept, judgement and conclusion, have to be applied to the work of senses on the use of a method for an amorphous image creation.
Process art attitude may be direct as far as possible toward the perception of “image as such” and closer as possible toward a perception of “amorphous”, to visualize a conception of boundary and form, a brewing scenario for an intuitive vision of an amorphous space, a lapse of time of constant flux where energy and information coming into existence, light and shadow, harmony, a form of animism, the unpredictable on the observer visual sense, the emptiness of absolute identity, an 'inherent existence' – perceived and thought to exist 'from their own side' exactly as it appear.
In the process of creating, the image environment has the constructive idea of “amorphous space”, to create the capacity of finding different approaches, generating themes around space and time, thus springing the changes where the image shape is subdued by the external elements that make it.
Amorphous *thinking* in the form of amorphous images, will transform those amorphous spaces resembling a boundary that never exists inside of it; observer only will see a bit of an image that cause his senses to produce images that make visualize amorphous image shapes.
If the process undergoes a cycle, whether it becomes a larger space, or smaller, then it will have the same amount of image space each time it returns to a particular point. Nevertheless, the open flow of image event is another transfer mechanism, a quantity of image which is independent of any particular process.
For an amorphous image with a few space, the variations in the image parameters become larger than the image processed, and the assumptions of an image process is meaningless. It is an expression of the fact that over time differences in an image process, its place, and results tend to even out an image process which is isolated from the observer.
Therefore, An Amorphous Image Process has its own laws of construction, with problems representing the process of amorphous thinking in visual terms. Though, instead of being formulated the medium of image language, is embodied in visual terms the medium image and process form elaborated, a visual reasoning or visual language, an inquiry based on the constructive and creative process, the cognitive knowledge, instinct and intuition, to encourage and to explore the speculative and the experimental nature into the notions of image place, image space and image event.