Vanitas II. Oil on canvas. 81x65 cm.
"A movement, a life, an idea of \u200b\u200btransit Who knows where to stop. " Javier Victorero (Oviedo, 1967) take hold of that idea of \u200b\u200bsomething that moves and moves "on three levels: within each box, including pictures of each series and between the set of all tables "- to frame, in turn, the paintings displayed in a new individual in the room Cornión Gijon; not in vain Transit is the title chosen for the sample, and that attitude is transient and mobile Victorero seems to expect that the eyes: a move by the works, coming and going "slow and calm, as slow and quiet has been the act of painting" that "they come across all that was left by the wayside. "
There is no contradiction between the aspiration to move and the fact that Victorero remain faithful to the geometry and pictorial language. Because, in your case, does not have the static geometry and the austerity of the constructive, but is presented as the common language they share music, poetry and painting: the rate, iterations, variations and the contrasts between a number of elements that, in the case of this painting, are reduced to the minimum-line, color and pictorial material, which, however, falls far short of fleshings and intellectual rigors of any minimalism.
Because, as noted in his text for the catalog critic Juan Manuel Bonet, is in the works of "Traffic" a "echoes the sound of the world," an allusion to permanent forms, themes and references that are not exhausted in their own games geometry, color and pictorial material. There is nothing difficult to walk the three main series in the exhibition unfolds -Blossoming Night, Matins- Vanitas and the viewer will find echoes of the classic English baroque still life to Luis Fernández or Palazuelo and discover in the works compact plant forms whose ranges suggest a fullness to the edge same decay; horizons blurred, spaces that build variations on a vertical pattern of gothic spirituality, or hatched in ways that suggest mental processes associated with hallucinatory insistence, obsession, sleep or insomnia. Facing
subtle tones and glazes Celeste, shown in his previous Cornión, and continuing with the forcefulness chromatic Black Light, with which attended the prestigious hall Robayera Cantabrian last year, uses Victorero color with a strength of two directions: first, into the darkness, toward the consumption of all forms in a physical and tangible blackness, for another, to sensuality that is almost always subtly and with restraint, but also breaks in play Contrast that vibrate the paint and violent, as in some parts of the series Blossom night. The same delicate flesh is to be found in its use of pictorial material: the hue that goes from matte to glossy, color washing almost to the plasticity of the dough, the smoothness of the textures almost imperceptible.
"In the end, there is only one example of the painting as I understand it," sums Victorero. And that way of understanding is revealed well before titles, and themes-such as soaking his series Matins; a hint that not in vain, carries religious evocations: "Painting is a ritual, and the paint is prayer, the ritual of painting. Is clearly not a sentence in the strictly religious sense, but neither should we be afraid to use words and concepts that are part of our own culture, "says the author, not in vain, has Bach, one of teachers of prayer in any possible sense of the term, Rothko, the greatest religious painter of this time and the author of one of his most touching chapels, and two of his favorite references.
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