An important part of his work involves his passion for teaching plastic arts, art history, and advances in digital technology.  Hence, for the last ten years, he has carried out training sessions, workshops, and courses in Guatemala and Europe.  After being immersed in digital technology for the last nine years, Azurdia has assimilated and profoundly understood this activity.  He blends, combines, and develops this art form, resolving forms through color, pictorial layers and transparencies; colors are toned and developed until they take shape.

Patches, spots, and figures become interwoven and expand diaphanously, in diluted nostalgia.  Azurdia’s free hand totally blurs landscapes, providing them with a light, musical sensuality of sorts, in ethereal surroundings, full of lights, color, and contrasts.  These techniques are conceived to operate carefully within a sensorial, intelligent, very human world, inter-relating imagination and sensitivity.  Full of forces and tensions, mainly emphasizing color dynamics, these are works of art which attempt to understand illumination through color and try to appropriate these nuances.

The observer feels Azurdia’s devotion to his materials, his evolution not only as a digital designer, but as a painter whose artistic objectives express intentions which are not so innocent, but are profoundly human and universal.  He radiates certainty in form and love for his art form; he forgets about making mistakes, about being up-to-date or contemporary.  Spatial disproportions are his plastic architecture for managing space and color.  Color and illumination, with dazzling detail, light precipitating and blending into a series of tone variations, in contrasting dark, violet, purple, and blue spots, lands which hide in the clouds of his inspiration.

Bodies are engendered from the chaos of matter and energy, almost occult, sketched, referred to an emotional pictorial moment, approaching the feminine hemisphere.  He makes us levitate in an organic whole, he delicately transports us to a space where our affection is softly enticed through color.

We also find reality and dreams, an imaginative argument clearly touched by the human condition.  His themes seek an intelligent world, the destiny of humanity is re-created and resides here, away from concepts and ideologies, with a transfigured memory. 

Having entered art at an early age, this self-taught creator, architect of sorts, studied Fine Arts in Florence where he moved from academia to hiper-realism, from the concrete to the illusory, from reality to “virtuality.”  Rather than transcending, he creates unedited, current poetry, with fear, tenderness, strong color tones, producing a story about the very relation between the artist and his feelings, mimetic and extremely internal.

Azurdia paints with alert placidness.  Yet, there is torment and suffering between the lines, and there is an artist moved by man and his humanity in this era.  He presents the moment with glazes which confuse the exquisite quality of all things voluptuous and emotional; titillation of the flesh, sensuality with inadvertence.  It is as if  he were attempting to face us with the very sound of this life, this world, this planet.  He accelerates and dilutes all this, as if trying to make us listen to the rhythm of our planet and our hearts, in syntony with all the rest.

Carla Brunitto, La Antigua Guatemala, June 2003

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