In the preamble to his speech On the (in) explainable emotion of painting, the philosopher and art critic Fernando Castro Flórez already warned that, as the historian and thinker Ángel González put it, “good ideas sometimes spoil the best of the paintings ». "It is not a question of explaining or describing the meaning of the paintings, but of encouraging people to think about them," said this great communicator of the theory and aesthetics of the arts, before making his way through the pictorial forest of Pedro Lezcano Jaén .
And so Castro Florez lit a series of lights that illuminated the paths of symbolism and dreamlike realism that make up the artistic universe of Lezcano, which exhibits a representative sample of his most recent works of art, drawn in the last five years, under the heading Time objects and the curatorship of Laura T. García Morales, and which can be enjoyed until this Friday, January 14, at the Auditorium of the University of Las Palmas de Gran Canaria (ULPGC).
The discourse of psychoanalytic roots, the image of the family as «spaces of projection, of tensions and violence, of disturbing reincarnations», and the presence of memory as a way back are some of the coordinates that cement and chisel a language of its own of experimentations, obsessions and "expanded times" in a beautiful treatment of colors.
However, the philosopher and critic highlighted the "disturbing strangeness", in the Freudian sense, that runs through the "objects of time" of Lezcano Jaén, since, in the opinion of the speaker, the only idea that is allowed to wield almost as an axiom is " the need to understand or assume the enigmatic character of the work of art. «That enigmatic condition that has to do with the disturbing dimension of art is undoubtedly very present in Lezcano's work, which fascinates us but also generates confusion and concern, and which from the beginning has to do with the experience of what sinister, also in the Freudian sense. '
A careful look at this retrospective exhibition of 80 paintings and sculptures reveals in each piece that, as Castro Flórez pointed out, "each of Lezcano's paintings is full of such a quantity of detail that each element allows penetrating different layers of meaning" . From chickens to blades of grass, to some pieces of stone, to the presence of a horse, to the absence of its surplus, to the rust of time, to the ruins and the traces of memory, «Lezcano's mastery Jaén is in the form, the chromatic and the textural ». And in everything that is not seen, but that is revealed. This is how the critic expressed it through a beautiful quote from Julian Barnes: “Art not only captures and reflects the excitement that life contains. Art, sometimes, is even that emotion ».
For those who wish to pierce through these layers of speculation and discernment, the great monographic investigation with the homonymous title, signed by a critic and curator, together with Jesús M. Castaño, reflects on these technical aspects, which dance between figuration and abstract inspiration, and on this imaginary of free beauty.
But Time objectsFurthermore, it will remain open for the next few days and Castro Flórez invited you to delve into its mysteries as one who rocks in the void between the variations of Bach. "The art of Lezcano Jaén as the music of Bach that inspires him," he stated. "Art as a flight, as a possibility of escape from a sclerotic space, where the imagination is put into play".