More light is a meeting of lightings/births. In each one of these pieces an artificial world is created in the same way that the Art History was during centuries the illumination of a natural world by means of the accomplishment of a copy, a reflection, a reproduction. (The history of the mimetic art is the history of the natural light because it is the history of a subordinate art to the laws of God. The modern culmination of God’s death is the -technical- triumph of the artificial light and the abstract or atheistic art: the contemporary age begins there). These works by Carlos Schwartz are the origins of an artificial world to define, to mean, to determine. And it is this incompleteness the one that grants a strong poetic value to them: the material fragility of these works supports what we could call a powerful fragility of definition. Because they are emerging worlds, these small configurations are indefinite and suggestive worlds. Because these works look for to give birth (to create configurations or worlds), they avoid to precise his sense. The more there is of cosmogonies in them, the less of cosmologies.

The Western history of the aesthetic ideas includes important chapters dedicated to the light. The first chapter, between the last Helenism and the incipient medieval Metaphysical aesthetics, arises like a reaction to the Geometrisms with a Pythagorean origin by recognizing that, beyond the perfect forms and the exact measures, there is a poetic of the welcome and the withdrawnness in the nature of the light; that, apart from illuminating with the reason, the light is energy that welcomes and illuminates, that fertilizes worlds. These works by Carlos Schwartz, belonging to this extensive lineage which converts light into a principle of creation (against whom converts it into a principle of reason), can be considered like interesting ars poeticas: allegories of the artistic - artificial- creation and metaphors of how all the worlds of the contemporary age lay on the contingency of the artificiality. Carlos Schwartz creates the words and the things, illuminates without cease which let remain illuminated. These pieces are subtle births held on the hesitation and the imprecision. They are at the moment of the tenuous thing, of the thing still without enough clarity but already without the total dark. That’s the reason why these electrical lights are so inapprehensible that not only cannot be handle because of the simple reason of their intouchness, but, because of his strict artificiality, they are discovered as foreign to us and therefore sacred. The light cannot be touched and neither be taken so that the world is born in front of our eyes and not between our fingers. The best is how these works become sacred not been able to get touched. The sacralism of the artifice or the last Prometheus.