Bea invites. I follow her, always with pleasure. Now, away from the garden. Paths.
Let’s go, more coffee...
By way of introduction,s he tells me a few years ago in a conversation, an Italian architect who specialized in the quatroccento said something that I always remember: "Beatrice, art became textile when it left the wall and went to the canvas..."
And yet – I allow myself – in the proper representation of robes, special fabrics, dressed in embroidery, in texture, a permanent evocation...
I have often been struck by the passion of some painters (and not minors) for representing the tissues. I remember how, after being totally shaken by Goya’s Fusilamientos in the Prado Museum, I stared at the detailed velvet brocade cloak in the portrait of Doña Isabel de Francia, a caballo, by Velázquez, in another room.
And there are the paintings of Holbein; even served to name a style of carpets. The list is long, and in modern times the famous versions of Paul Cèzanne on Mount Saint Victoire are of great interest, in which the painter lets the canvas also participate in the work...
The hand opens. Generosity.
Walking between the images... My dear Beatriz Oggero gives the name. Orlando Alandia. Architect, graduated in Italy. Before us, labyrinths; Enigma and revelation of the minotaur. Exploration that the artist repeats, deepens.
Echoes of her voice, by the readings on purpose (it was an interview she did some time ago):
... Durrenmatt, Cortázar, Borges, redraw the inner spaces of the labyrinth and populate it with characters, sometimes imaginary, sometimes real and give life to new stories or sub-stories, collateral to the mythical Greek.
A character like this of the Minotaur, who understands the world through sensations and not through concepts, makes fascinating the challenge of representing his visual / sensorial world, and ultimately his life, in paintings that are, in some way, the representation of what we cannot see and conceptualize (as Paul Klee would say) and only, feel...
If we perform the exercise of defining or describing a sensation, surely we will stay with very few words and resort to the eloquence of the onomatopoeia...
Condemned not to be a god, neither human nor animal... rather, only and nothing more than Minotaur, unable to rationalize his sensations in concepts, and his feelings in words, lives a life marked by his perceptions and very rudimentary mechanisms of understanding Of the world around him – so monotonous...
As in the old negated perspective painting, with characters whose dimensions were conditioned rather by their importance to the god who was supposed to rule and contemplate everything, so, in this case, the limited world – opens, rich by the importance coupled every stroke and form as element / medium of the cosmos all to the humble eye of the prey creature. Much more than an inner world, by refraction to our referents, certainly an entire universe.
An architectural work commissioned by King Minos, and conceived by Daedalus to keep the Minotaur away from other human beings, and prevent them from contacting him...
Yes, which leads to an attempt to reflect on the marginal. The different and consequently marginalized. I turn to the color, to make a personal reading about this fascinating personage and its history, that in the last analysis I reduce to few elements: The rational (the conventional, the public, the social, represented by the outside world of the labyrinth) Instinctive (the emotional, the marginal, the dark, the intimate, represented by the same Minotaur locked inside the labyrinth).
To reflect definitively on the human condition through these elements and personages: architectural constructions and mental constructions that make the instinctive come marginalized of our social lives, where instead they develop every series of intrigue and traps giving us an illusion of belonging, with The only purpose of burying our instinct at the bottom of that labyrinth we are building throughout our existence.
It resounds – sophistication.
Great success, the authors concerning... Borges, especially, – so far from instinct; So far from reality.
(Sabato's posture, by the way, takes on a sharper sense.) The dark paths in Abaddon, the exterminator, that other world, deceive, to bring us back to the brutality of the denial of the living, complex, vastness, and death itself, through Of a crude and powerful symbolism.Thus, I think, forced to value this novel and On heroes and tombs under certain labels, it is necessary to recognize them before Gothic..., that philosophical. Interesting attempts, through the language, to the reality that Is deformed in civilization..., in the process of illusory forge of a History...)
Let us also remember that it was not only thanks to the thread of Ariadne that Theseus manages to assassinate the Minotaur and escape free from the labyrinth, but also thanks to a trap, a very rationally conceived trick: disguising himself as Minotauro in order to get as close to Asterion as possible The blow of a dagger to treason, just as the creature tasted an unparalleled happiness – a feeling he could not understand – seeing that he was not the "only" Minotaur in the labyrinth (his world), that he was not alone and That there was a possibility of sharing with their peers.
What is not appreciated "literally" in your pictures is a description of the labyrinth... and neither does the Minotaur appear...
My painting tends more and more to a reduction of compositional elements in the bi-dimensional space of the canvas. The process is developed in time and space by superimposing layers of color with different technical resources (glazes, opacities, textures) in a color plane, determining what I call "color construction". Resorting to an architectural image, it can be said that there are colored floors superimposed and supported by a structure given by the composition and the handling of that space.
In this way, the resulting color is itself rich in chromatisms, textures and transparencies, allowing partial glimpses of the lower strata and in different ways, just as in a tapestry sometimes the weave and sometimes the warp appear.
With the annulment of perspective, – the annulment, also, of time, – and its layers. More than unification.
Integration prevents measurement and time is the illusion of segments; Temptation to speak of states rather than conditions, such as the purpose of happiness... Temptation to define at every step, conjugating verbs (complication, added, often too much, to the real complexity of phenomena).
Time aside, – substitutes. And eloquence in the very penetration of consciousness...
Firmness in the proposition, which allows to leave certain strokes free, to create indefinite spaces...
There, a response to the vain assumption that there is not much left to put inside a picture, that sad and confusing roll that blindly puts technique by object: that word by word, aesthetic flourish, (as when John trembles Banville, everyone who dares to leave the description...)
To question the plane of the canvas as finite, delimited space. The indefinition of the edge or rather the approach of a random, indefinite margin: a space in which the color dissolves, frays and vanishes to reveal the background, the foundation, which comes to be the canvas itself.
I have been able to observe during these years, this evolution of your painting. While it is about the repetition of a subject, the result has a different quality.
This is a long process. As I discover new technical possibilities over time, I have been able to create a certain codified or codifiable language that returns to me in its materiality a synthesis, recognizable, of the infinite possible and even unexplored combinations.
The canvas lends itself, far from the optical illusion of depth, to a penetrating contemplation through and between the very limits of each cloth, – windows and interstices, circumventing the rational sense of geometry, revealing a more eloquent motif in color, In the liquefaction of this, as if it resisted to be part of a single moment, present. Discover thus, the trick to kill the creature, makes its meaning, undeniable, – he affirms. So his proposal is given to weave also with postulates from other sources...
Painting, architecture, engraving, textile art, archeology, novel, poetry, are present in different ways, at different times, with different intensities in my work, although this is essentially pictorial.
The threads, to the case, among other works / cloths, give of silences. The strands arise from each (a) to the tuning in the abstraction.
These pictures do provide a unique opportunity.
Abstraction, abstract thinking are present in art from its origins. From cave art to the present, it gives us the possibility of observing things from an improper point of view (to put it in the language of geometry) and timeless. It shows us that which is not visible and that has to do more with the human condition that through history repeats incessantly gestures, acts, attitudes... it is in that field that I search through the exercise of art.
The balanced composition of the warm and the cold distributed in multiple planes acquires here the value of language; They are not content to suggest, they say. To replace them with other tones would be equivalent for the artist to introduce the vagus where it is intended. A form is not born at random. A living structure, that is, that modifies, imagines, dreams, is not a passing invention, the result of an aesthetic choice. It can be the revelation of a thought, of a situation. The artist refers us to memories of childhood and adolescence, such as that formidable alignment of the sun, moon and planets that he linked in his imagination with a thread of Ariadne, a cold dawn Minessotta.
Vocation. Delivery, – acceptance of all that conforms and exceeds rational consciousness as well; I set the course, go ahead, safe by the pulse.
Thresholds to cross to find a new reality.
To cross the lintel is to take risks, said Orlando.
"The aim of the painter is no longer to provide a double of the universe, but to inform about possible," says Francastel.
(Translation, by María Eugenia Mendoza)