In Diego Díaz’s drawings, not only does his graphic talent shine, but also his poetic spirit and his ability to capture, amidst the mist and darkness, sensations, emotions, and feelings that he manages to convey through his penetrating understanding of the human condition. They constitute an evocation of intense experiences, indelible moments.

His works focus on the night and can therefore be classified as «nocturnes,» a practice that presents the difficulty of accurately representing darkness. However, it is worth noting that the exploration of nocturnal representation led to the introduction of chiaroscuro, which Díaz wields skillfully, albeit without the strong contrasts that have characterized its use throughout art history.

On the contrary, his drawings barely include, if at all, small details that fully capture artificial lighting, as they are primarily composed of dark areas and zones of penumbra that suggest rather than describe, but they do not hide the passions and excitement of bohemian nights, of music, furtive loves, and liquor.

These artworks are small in size, but they possess the power to awaken memories and remembrances that, despite their unrestraint, are highly valued in culture, particularly those that deviate from the orthodox canon of the time. The overflowing, licentious dawns unleash forces that are overshadowed during the day by principles and logic, allowing individuals to shape their existence without conforming to their supposed destiny, to embrace an alternative lifestyle, cultural tastes, appreciation for friendship, and idealization of passions.

The night speaks a language of shadows and secrets, and Díaz is well aware of this, which is why his drawings, in their powerful smallness, suggest, disturb, and surprise. The fading faces invite us to identify their thoughts, the hands convey impulses and abandon equally, and the embraces manifest deep friendships based on shared values and common purposes.

Díaz’s work, in both its aspects, encompasses creativity and talent, but his nocturnal pieces are also visual poetry. Thus, when appreciating them, the words of the poet come to mind: «What is life? A frenzy, an illusion, a shadow, a fiction; and the greatest good is small; for all of life is a dream, and dreams are just dreams.»

Eduardo Serrano