Ramón Mayrata
The dream of painting
Concha Gómez-Acebo
Utopia Parkway Art Gallery, Madrid, 1998

 

THE SAME FINGERS THAT FEEL IN books the touch of dreams detach themselves so as to voluptuously paint the suggestions aroused. The trance of reading and the trance of imagination, the reading and the dreamt are joined together simultaneously in one image. At the same time that we see the fingers capturing with emotion paint in the meticulous and precise brushstrokes on the covers, we can also see how paint overflows out of the book, flows along the landscapes that the mind recreates, and then, Herge’s clear lines untie themselves in even more loose and evanescent brushstrokes that are completed in the retina.

The transition is perfectly soldered, as if it were done trough an electric current. The pleasant light touch of Tintin’s fantasy the incitement of travelling, the translucent images from Herge, arouse in the emotions they provoke. The book covers are the floodgates where what is read reverts in imagination. We attend the journey of painting that creates dreamed worlds. Actions and different times are put before in the canvass: concentration, the incentive of reading, the important moment when dreams take off, the journey through countries and landscapes that only exist in our imagination. Light and the incidence of light that splits Herge’s flat colours in varied scales, where greens, and blues predominate and reds are transformed into violet, within a different pictorial tradition, maker of vibrant atmospheres that are shreds from the pierced veil of the interior.

The worlds we contemplate are shelters from an interior life, worlds that take no notice of reality and where the different faces of desire appear. The concentrated eyes that read are confronted with interior agitation and worries that overwhelms intimate life. What the imagination does with desire is to incessantly recreate it. We feel its presence in the marvellous still-life with books that places us in the previous instant when every dream begins, and we perceive it, also, next to an open suitcase that hides, as in a paintbox the landscapes and distant personalities, even before starting the journey. We take it by surprise in every day life, pressing down on the woman’s bust that walks amid the trees, standing against the curved bar counter or enigmatically locked up in the dreaming angel, maybe with his wings folded over the lovers embrace?

And, likewise, we recognise it embodied in on those figures that, in spite of the different races, are a series of imagined self portraits of the woman who has started walking by her dreams with a brush in her hand and is transformed from the inside, turning into those creatures she identifies with herself in the five continents of imagination. Bodies overflow the clouds that cover them and powerful sensuality covers the painting releasing the figure from the figure. Painting that dwells on the desire reflected upon the numerous characters that emerge from the interior dream, and, at the same time, scrutinises within the mystery of the desire that has created them.

An interior journey that looses sight of in those morbid distances, those endless backgrounds in which atmosphere splits up with the magnificence of a rainbow. There where the journey of painting immerses itself in the emotion of painting, where it is almost impossible to control the brushstrokes over the dream that dream and desire shakes and multiplies. In those enormous backgrounds in which colours twinkle perceiving invisible territories and imagination fades like a bird’s flight that brings to life the continuity of space when it disappears.