The artist as part of the work, performance, Fluxus and social involvement:
The self-portraits and the actions involve the artist as part of the work. These performances highlight, on one hand, the personal and total involvement of the artist with his work at an experiential level, on the other, the union between the work of art and the reality of which he is part. The relationship with the Fluxus movement and the work of Joseph Beuys establish a conceptual link as a sociological artistic movement and not only as a mere commodity. The works are proposals with a deeper and more elaborated character distancing themselves from the beginning of the American Fluxus. Some representative elements are: the use of personal or appropriate stamps (Fluxus, Art-Theological etc), the target and actions as part of real life (congresses, workshops, meetings or sporadic interventions).
Art as human development. Poverty and dignity:
Habitat, poverty, hunger, spiritual anthropology.
As part of his artistic work he intertwines the artistic work and the artist in human develop-ment and social action against poverty, for the defense of people in situations of oppression and injustice. The actions taken arise from an artistic movement called "Poverty and Digni-ty" in an interdisciplinary work between "Art and Poverty". This movement involves other artists and proposes journeys and works from the actions and from the academic reflection with conferences, meetings and interdisciplinary research. The works and installation of golden rice and white branches is within the social and anthropological reflection on the habitat (the white branches) representing the creation of environments and living spaces worthy, and the primary needs, food and education (golden rice) with the reflection on transgenic foods and proposals for the eradication of hunger. LOW-TECH and technologi-cal resources in art are other proposals for development within "art and poverty". Confer-ences and publications are held on the use of "cheap art" or "disused art" in the development of artistic proposals involving different artists and researchers.
The theological, anthropological and existential search and reflection:
Theology, the anthropological and sociological vision from a spiritual and transcendent realm, are the essence of his whole artistic proposal and remains present in painting-installation, photography, or video. The work seeks to establish a dialogue between faith and reason, between the different philosophical concepts of Beauty and the Sublime in art. In the course of discovering a language of its own in the work of José Cosme, the viewer becomes part of the artist's own questioning about the functionality of art, which is the human being or the union between the transcendent and the individual. The white canvases, with fabrics that go beyond the frame and intervene in the space. The dirt of the footsteps as history and life, the white oil painting as a sacrum-redeeming element, show the being of the person within the ephemeral and worldly and, at the same time, as part and evocation of the trans-cendent. In the installation, spectators becomes a part of and intervenes the work with their footsteps on the fabrics that cross the floor. The question is a personal interpellation on the existence: Nihilism or Transcendence? These works unite the traces and marks, texts in pa-per veilings showing a "revealing microvision". Messages that could be hidden among the dust or the erosions of time. The veilings and texts are installed outside the canvas appropri-ating the space that surrounds them and delimiting pictorial formalism. Some texts can be light projections that appear and disappear.
