The nature of light has been a recurring theme for philosophers and physicists of all time, who wanted to get to the heart of this beautiful radiation determining the exact content and set traps. Conscious that the human eye at the same time distorts the captures, the wise men of all time have theorized about what is light. Yet none of these men of thought or science has been determined so perfectly, as intelligible and as close to all mortals to understand what light is and what its nature as that of painters. Because if for a particular physical embodiment and the elements and structures of light is a challenge for a painter is an absolute moral necessity: the painting exists to apprehend, to stop, to immortalize the light, so there's only paint if there is dialogue with light.
After the theory of relativity seem scientifically possible to travel in time, suffice to invent a machine that moved at a speed faster than light. And yet, the artists have made us travel for the same amount to achieve the opposite force, conquering the arrest of light, paralyzing the Transcendental magic talking Cees Nooteboom. At the stop light, painting stop time or more precisely gives us something that has been put out of time - "time is canceled while we contemplate the picture," said Nooteboom, "out of transience, delivered to eternity. Not fit into the picture sequencing of events because time has no place to be all painted an unprecedented rule of timeless light.
So next weekend is set out in the Hospital of Santiago de Úbeda the paintings of Antonio Utrera Quesada, a large-faced sabioteño good man with a universal vocation. In his work, the light has been surrounded, harassed lovingly to be reduced to its purest form, to get naked all attachment and all superfluity. Pass through the prism of white canvas, the light gives his heart broken in intimate robust plurality of colors, where the long stroke, large and rotund is a magical space. I think "The Picnic II", a painting that allows us to enter into the dominion of light that overwhelms us with the epiphany of a world that is not expected. What is the light and what time? These colors unhesitatingly venture into the primitive enclosure of canvas, transforming themselves into a mosaic that theorizes and dodges all the nuances of light.
Utrera Quesada light rises to the level of absolute protagonist of his work. If many painters of light is half-way to highlight the images, situations or figures in the tables, Antonio Utrera, light is an end in itself, perhaps the sole purpose of the artwork, as if it had the painter more interest or desire to paint the light, so that even the shadow of the views or Castellar Illescas or a few houses up on a lake, are shadows on the brushstrokes curdled into a kind of oceanic Ardentía , shadowy and even glow, as if he had understood and taken cerdamen the pristine yearning of oil you want to drag on in the timeless time of the light without speeds. Quesada Utrera painted light that captivates with a teacher who includes his paintings. Leaning them understand the symbol and the reality of the painting, its unit material and spiritual upliftment able to seize, to catch with a rod of fire, the founder of the second outbreak. Because Utrera painting light is not a foreign element to the volumes and spaces, as are the trees themselves or the water or the people who give off a light that is belief and assertion of an act of artistic faith: the Utrera light Quesada is a god that can not be denied. Before his paintings, you can not be a believer or an atheist shadow of light.
(IDEAL, 10 February 2011)
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