One
of the first WoodyAllen´s monologues started like this” you must know
this…” He meant that, the news he had ,were relevant. Thus, once you
have looked at Jesus Risueño paintings ,the feeling that first comes to my mind
is that everybody must know his paintings. And that is so, first of all because
I find that his creation without
any effort comes from knowledge and reason , up to now, an essential concern of
the western knowledge. Most of the times today is left to the rudest verbal
tautology. Then it relieves to see that Jesus is able to provide thinking and
quality at the time that he weakens his particular Ariadna´s thread in the
solitude of his significant labyrinth.
It
is not only the painting, that we are presented, means half thinking and half
emotion but it is evident a certain lucky effort methodically as well. And
according to the present time where there
will be at any time to start and build again. Here, there is a project and
epistemologic method shown through the paintings extraordinary accurate,
detailed in their conception , where each delicate texture, each slide, each
deconstrutive or sculpturesque effect has, in my opinion, its own reason for
being. And if the author combines so luckily heavy shapes, rising with light red
coloured gestures that seem to weigh like cetaceans, it is why he surely gives
us some certain clues, immanent and beautiful, pointing at the substitution of
the euclidianic rules by the poetics of the uncertainty which considers geometry
not only as mathematics but above all like science of the space relationship
that orders nature in a magical way as well.
So
I dare to hazard that Risueño´s
proposal represents a comforting interpretation of the endless dialectic between
chaos and order or how from an apparent chaos, a healthy and new order can be
obtained through the interaction of what they really are, the two sides of a
matter. As Illya Prigogine said: “ In background situations of equilibrium,
the matter adquires new properties, such as communication, perception and
memory”. I would also add colour, emotion and sensibility…
On
the other hand, it is significant to note, as the domain of the fragment, of the
enclosed reality, constantly forces the one who watches to discover, which is
the matrix shape that creates the picture, perhaps to avoid us to forget that
the contemporary art gives us the fine privilege of letting
us watch infinite length inside the finite areas, the way it happens in
the fractal functions , where in a very similar way to what we call freedom,
provides a vivifying subject to the promise that hides the word geometry.
Geometry of life that doesn´t exclude, on the contrary, the most human face of
the emotion. As Pascal said: “ All our knowledge is reduced to yield to
feeling.”
Juan
Granados
November 2004
