Considering the ongoing effects global warming, the idea of a multi-planetary civilization does not seem that absurd, but the notion of being able to do it through the infinite wealth of one person plays between ego and arrogance. Elon Musk aims to get to Mars first and offer us the possibility of expanding our civilization, yet Gabriel Rodriguez is one step ahead, arriving first through entrancement.

The paintings on display are the approximation of that journey. The purpose is to respond to human megalomania, which germinates especially in euphoric minds to which the world can no longer exert limits. The privatization of the world has left the earth, the colonizing system is projecting to fly into space and reach beyond the atmosphere to land on the red planet. Elon Musk is now leading the space race to take the common man to Mars. His plan began when he discovered that NASA would not have enough resources. Bureaucratic barriers and the inefficient solution of buying the technology from Russia made him want to fulfill the fantasy with his own means. SpaceX became the second of the private corporations whose goal is the colonization of Mars, and which proposes to take man into space in a sustainable way.

The artist, after lengthy preparation and therapy, rescues the relationship between travel and the power of the unconscious. Through hypnosis, he traveled to reach the Martian surface and thus inhabit landscapes that he had previously painted from photographs. To make the paintings he based himself on images published by NASA, which he has flattened chromatically and has made them come out of the constriction of the frame, expanding the imagery to the wall and taking the painting out of its two-dimensional condition into the space that contains it.

The preparation for the hypnotic journey began with various lucid dreaming sessions and exercises of repetition in order to retain the paintings in his subconscious and bring them into his dreams. Once he was in a state of hypnosis, he was able to go right through them, face them and somehow inhabit them. In this process of construction of the images of space, the influences are mixed indistinctly from mediatic images to others created by his subconscious which he combines to obtain interesting hybrids, especially when he is closer to hallucination. The use of different methods to produce such states in the processes of artistic creation has a long history in the history of art.

Consistent with the artist's material research surrounding painting, these works occupy the wall beyond its margins, forming broad, vibrant stains. This is explicitly related to the ectoplasm he cites in his sketches, based on old photographs. That organic thing that comes out of the body is referred to in previous works and he depicts it as something that scatters and sprawls. Hence the presence of these characters releasing their souls by leaving the body makes perfect sense in expressing it through painting and at the same time connecting it back to states of hypnosis. That is where the two issues meet and the spilling of paint on the wall also refers to an organic issue. Deepack Ananth wrote about the frame as a way to create both a physical and metaphysical place to observe the work, and determine the context of where it should be experienced.[1] Rodriguez not only leaves the confines of the frame but surpasses this definition by taking the experience to an intangible place and another level of consciousness.

In the mounting of the works in the gallery, we find other forms of tension with the nature and aesthetics of painting. For example, in the literal allusion to the world of advertising, through a painting on a billboard that indicates that the space race has been accompanied by an advertising race at the same time. The presence of models of houses for Mars ironizes the speculative eagerness on the territory and its value. The videos end in the same spirit, where the dimension of human failure in its hunger for the evolution of the species is highlighted through images of accidents in space missions.

The Weightlessness of the Other World is the pictorial account of the mission.

The paintings expose a record of the journey and seek to convey the trance, the limbo that engendered them. With its desolate esplanades, its aesthetics reminds us of the landscapes of romanticism. This is perhaps because contemplation provides a kind of approach to the landscape that in a certain way protects it. "That is far away from my destruction, only available to my gaze", something like inhabiting them without touching them.

— Alexia Tala