Bermejo's profession is that of a scientist whose work has focused on the investigation of motor control. For many years side by side with his scientific activity he has also been an artist. He always assumed that there was some parallel activity going on between his scientific involvement and his art. I realize that parallels can always be drawn between art and science but that they are not necessarily the most useful in describing his art, which is best seen rather than talked about.
      Some of his art work is involved in light and color and its interdependence. And for the purpose of giving some idea of a model to verbally draw upon would be between Josef Albers's investigation of color on the one hand, and James Turrel's investigation of the perception of light on the other, thus the title of one of his series: The Light of Colors.
      This, as well as other series, are presented as duraflex chromogenic prints created with a large-format photo laser imager. Each print contains some 500 color values and approximately one million fine "brush strokes" carefully distributed across the surface. He has created unique, custom-made computer software needed for each specific project, rather than using commercially available programs, which limit one's creativity within the parameters of those programs. The work is possible because, with a computer, he has access to an almost infinite palette of colors. Moreover, he can precisely position these color values in minute locations across the computer's virtual canvas. The effects achieved in this way are different than those with traditional painting, pushing and extending the way painting and art can be conceived and made. At the same time, the boundaries between different media (photography, painting and video) become even narrower: the final output of this works is as a digital photograph, or digitally printed canvas, or projection on a large LCD screen. But regardless of the media the content remains that of a painting.
      The project "Straightening the Line" is an homage to the straight motion, in the same way that the gestural painters made an homage to curvilinear motion. Gestural paintings are the outcome of the curvilinear natural movement of the arms (gests). What would happen if those curvilinear motions become linear? This is what he wants to explore with this project: the creation of paintings produced with solely linear (angestural) motions.