"These are the drawings of a walker." The words of Melquiades Álvarez (Gijón, 1956) are probably the easiest way to describe what it contains Roads, title which means a exquisite book edited by Trea, the exhibition that will accompany his presentation on Sunday at 13 pm in the museum Evaristo Valle Gijon and, above all, the artistic distillate of many hours of walking receptive. A walk to the painter calmly has deployed both to their feet with their hands-armed charcoal and coal, and with his mind, which ultimately is the true inner landscape which have been adapting and recreating - this time by conscious and unconscious memory, their unique experience of walking.
Traces of all these forms of traffic have resulted in a series of fifty papers in which Melquiades Alvarez, true to the spiritual by the landscape that unifies his work has sought to "follow the path of secret music." At that music which has been equally attentive ear in familiar and far: marine, forest, eastern suburbs recognizable Gijón, towns, villages, parks, whose common feature is to appear split by the unmistakable marks of human discourse . On some occasions, the road is a lack of drawing white in the center of the drawing, in others it is barely visible through the tangle of lines that reproduce the tangle of weeds and branches, or nearly erased by the densification of carbon night or stump of the fog, the distance or the snow on some pictures is winding mountain road and other asphalt puddle, bridge or invisible path, denounced by the procession of figures that human travel. Even the sky, as in the final drawing, No way, roads, in which the free flight of a bird and its invisible path symbolize the opening of all possible routes.
But in all cases, the road is part of the same deep symbolism (the actual practice and suggested physical space and escape ") and runs through landscapes deeply assimilated by the person who ran then evoked with licenses, omissions and revelations granted memory. The Transcriber is a tool to trace the pure alternating flashing nervous with more elaborate plot, shade or incision barely suggested in the paper, but in all cases works for the author as "a live recording of the spirit of seismology , a handwriting of the soul. "
Therefore, in the precise and beautiful text that opens the book, Drawings of a walker, the painter speaks of "a mixture of realism and subjectivism" set the same technique, usually applied good wanderer: the wandering and exploration as fines en sí mismas. “Me he aproximado a la realización de los dibujos siguiendo el camino del tanteo”, escribe Melquiades Álvarez; “con pasos que avanzan y retroceden”. Como en sus orígenes etimológicos el método acaba por ser el camino mismo, y el dibujo se convierte en la prolongación de la ruta por otros medios.
El vigor literario que muestra Álvarez en su texto tiene seguramente mucho que ver con las excelentes compañías que se ha procurado para estos itinerarios; empezando por la del poeta y ensayista gijonés Jordi Doce, que cierra la marcha con un inteligente texto titulado Conjeturas, inminencias. It stands out precisely "an attitude of searching, of inquiry, which can only adjectives of spiritual" Twelve that relates to three traditions: Eastern and essentialist stripped, the Nordic and metaphysics of romantic attachment, and a third, tied "late modernism" sensitive to "the poetry of the province" in declaring also unequivocally Gijon affiliation of Melquiades Álvarez.
But these roads are also villages of voices: conversations in itinere that explain the excellent literary form of the painter. The drawings appear faced with transcribed texts handwritten by Melquiades Álvarez, so as to make another record of his handwriting soul. From the East Lao Zi, Basho, Kobayashi or Soseki to contemporaries as Antonio Colinas or Julio Llamazares; from wanderers of nature as Thoreau or the Spaniard José Ramón Lueje, to literary travelers as Cela, Handke or Sebald; and poets -San Juan de la Cruz, Novalis, Yeats or Machado- philosophers-Rousseau- and even illustrious fellow workers, as Van Gogh.
However, as noted by Jordi Doce, "Roads" is after "a solo album," the profession of "a love that seeks to be among the things without possessing" and almost self-possessed. Another poet, Vallejo, drew the landscape in his most famous sonnet: "With all my way, to me alone."
(New Spain, supplement Culture, 12/16/1910)
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