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chance

Snow in the forest. Mixed / canvas, 55 x 73 cm.

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chance and then channel it into a precise goal: the distillation of a deeply personal experience of the landscape, embodied in the form of painting. In these terms could be summed poetics Avelino Mallo (Langreo, 1956), reaching unprecedented heights of virtuosity and subtle landscape liquefaction, individual which amplifies the picture a few months ago deployed in the Evaristo Valle Museum Music titled eye. True to assumptions and methods that have been refined over the past three decades, painter and teacher is based on a fluid state of the pigment, which has better conditions maximum uncertainty and risk to the process, and then imposes on himself the task of redirecting the flow wisely and patiently gambling into a form that is always the landscape, but that does not aspire to mimetic representation of the landscape, but an idea, an aesthetic archetype, and while the particular experience of the landscape by someone they know by heart the nature and sensitivity assimilated equidistant between ecology and mysticism. Respect

maximum initial conditions leads to a sort of noli me tangere painting. Matter can not be manipulated directly: it seeks to realize one of his chances of heading through turns and tilts the canvas, understood in turn as a channel, river basin through which the paint flows, eddies or stagnant, branches into tributaries or re-focus, and is then again subjected to a washing process, reservations, transparencies that are as close to ideal impossible "Temptation", summarizes Mallo, "to control every drop with the mind." Between this chimera and direct manipulation of the painting as a painter puts his action, which seems more of an interpretation, musical sense of the intangible, just as the flutist modulates the flow of air through your instrument . Not surprisingly, the sensitivity of Avelino Mallo is also a musician and an expert in music, and a good reader of poetry.

The series that brings Liquefaction paint materialize varying degrees of specificity in that game with the chance that it faces, according to Mallo, "millions of unexpected connections" from the most concrete ways that articulate backlight in the woods or Snow in the forest, or some of the vast forest landscapes in Veneros, to representation by the same stream flows in this series, or other physical manifestations: light, color the vibrations of the atmosphere, the miasma and swelling on the horizon in the French Landscapes , Les coquelicots or Dim- and all of this in the series dedicated to the Northern Lights. While part of principles involved in surreal or procedures action painting and lyrical abstraction, the result is more a kind of poetic expression in which it expressed not so much the subject but the very nature of the subject through and not so much the landscape and the spirit of the landscape, the sublime, matter and energy in conflict with natural forms and ideals of beauty.

(New Spain, supplement Culture, 10/28/1910, mutating Siamese with an article by Marina Cosme that may be due to Avelino Mallo also plays the flute - my apologies).