Como medio y búsqueda, el artista puede recurrir a la obra de otros creadores para cambiar y hasta enriquecer su propia creación, su propio talento. La diferencia consiste en que raramente un artista lo hace abiertamente, como soporte válido de su trabajo e investigación teórico-práctica. ¡Cuántas veces hemos visto imitar a artistas ilustres, esperando que nadie percibirá la fuente de inspiración! Sin embargo, sucede que el genio ajeno alimente el ímpetu creador y lo convierta en una obra innovadora y original! Es el fenómeno de la apropiación, un proceso totalmente distinto y positivo.
La apropiación es, como bien lo enuncia Dominique Berthet, especialista martiniqueño de este tema: “un proceso activo, un acto voluntario, consciente, pensado, que releva de un cierto compromiso.” Podríamos decir, tomando ejemplos en esta exposición, que, al captar una casa, una fruta, un rostro, para (re) presentarlos en su cuadro, el pintor motivado se concentra en la obra de otro pintor, generalmente famoso y fallecido. La inspiración se vuelve reverencia, algo así: “ He descubierto que su obra es extraordinaria… la siento y la quiero modelo mío”.
En el caso de los dibujos de Inés Tolentino y de Angel Urrely, la apropiación es a la vez un encuentro programado y una reinvención total, un diálogo abierto y una lectura profunda. De manera evidente, cual un tributo rendido al maestro Peña Defilló, las obras “segundas” proponen un experimento innovador. Ambos artistas preservan sus rasgos propios, rehúsan la absorción pura y simple, desestiman límites espacio-temporales, en fin su trabajo se convierte en vibrante homenaje y memoria visual, libremente invocada, como Fernando Peña Defilló lo hubiera querido… Al proponer una estética diversificada de la (re)presentación, tampoco eluden el contenido introspectivo en sus dibujos.
Cada una de las obras proyecta la impronta de su creador, el goce que se apodera del artista en la etapa de la concepción y, tal vez más, en el proceso de ejecución, interviniendo la imaginación pero controlada por un propósito definido: se trata de una fantasía dirigida. El resultado es perfecto, el esmero de la ejecución insuperable -demostrando cómo triunfa en el mejor arte contemporáneo-.
Inés Tolentino se adueña de elementos cotidianos, resucitando la “vida tranquila” (el término inglés “still life”aquí más corresponde que el de bodegón), casi revelándose cómo este género – objetos personales, frutas tropicales, flores del campo,- también le pertenecía a Papo. Afirmaba Jeannette Miller que su temática había ido desde la naturaleza hasta el hombre, deteniéndose en aspectos singulares de la idiosincrasia criolla.
La artista trasciende la manufactura primigenia, modifica su presentación –respetuosamente siempre-, la integra en un dibujo palpitante, en el espacio de ella. Así sucedió con los tubos de pintura, que Papo, en el famoso “autorretrato del rayo”, insertó en primer plano. Descartando estereotipo y repetición, cada una de las obras de Inés dicta, con esmero y precisión, metáforas recreativas distintas y las podría variar infinitamente, hasta alcanzar aun una vision onírica sin traicionar la percepción original. ¡Las mariposas predilectas no podían faltar!
Inés Tolentino decía: “En mis dibujos y pinturas, propongo tanto una interpretación intimista de la casa y sus objetos simbólicos como una visión de la naturaleza tropical y el problema ecológico. Nunca falta el mensaje, a menudo plural –amor, dolor, peligros, creencias, sociedad, identidad-”. El compromiso de las ideas y la complejidad de la memoria son evidentes en esta serie de dibujos, donde también el cuerpo está presente.
Y, a partir de “Paris 60”, una imagen tan contemplativa como impactante -departiendo en un café parisino Fernando Peña Defilló con Luis Feito y otro amigo-, Inés Tolentino, debajo del retrato que ella acrisola, parece, en un exquisito collage, deshojar pétalos y páginas de memorias penetradas de nostalgia. La factura estremecida del crayón, la versión singular del “modelo”, el colorido autónomo, el material ligero, se convierten en diálogos y sugerencias, recreando formas, espacios y atmósfera, indisociables en su poder de evocación.
As means and search, the artist can resort to the work of other creators to change and even enrich their own creation, their own talent. The difference is that rarely does an artist openly do so, as a valid support for his work and theoretical-practical research. How many times have we seen imitating illustrious artists, hoping that no one will perceive the source of inspiration! However, it happens that the foreign genius feeds the creative impetus and makes it an innovative and original work! It is the phenomenon of appropriation, a totally different and positive process Appropriation is, as Dominique Berthet enunciated, a Martinique specialist on this topic: "an active process, a voluntary act, conscious, thoughtful, that relieves a certain commitment." We could say, taking examples in this exhibition, that, To capture a house, a fruit, a face, to (re) present them in his painting, the motivated painter concentrates on the work of another painter, generally famous and deceased. The inspiration becomes reverence, something like this: "I have discovered that your work is extraordinary ... I feel it and I want it my model". In the case of the drawings of Inés Tolentino and Angel Urrely, the appropriation is both a programmed meeting and a total reinvention, an open dialogue and a profound reading. Obviously, like a tribute paid to the teacher Peña Defillo, the "second" works propose an innovative experiment. Both artists preserve their own traits, refuse the pure and simple absorption, dismiss spatio-temporal limits, in short their work becomes a vibrant tribute and visual memory, freely invoked, as Fernando Peña Defillo would have liked it ... By proposing a diversified aesthetic of the (re) presentation, neither elude the introspective content in his drawings. Each of the works projects the imprint of its creator, the enjoyment that takes possession of the artist in the conception stage and, perhaps more, in the execution process, intervening the imagination but controlled by a defined purpose: it is about a directed fantasy. The result is perfect, the dedication of the unsurpassed execution - demonstrating how it triumphs in the best contemporary art. Inés Tolentino takes over everyday elements, resuscitating the "tranquil life" (the English term "still life" here more corresponds than the still life), almost revealing how this genre - personal objects, tropical fruits, flowers of the countryside, - also It belonged to Papo. Jeannette Miller affirmed that her subject had gone from nature to man, stopping in unique aspects of the Creole idiosyncrasy. The artist transcends the original manufacture, modifies her presentation -respectfully always-, integrates it into a pulsating drawing, in her space. This was the case with the paint tubes, which Papo, in the famous "self-portrait of the ray", inserted in the foreground. Discarding stereotype and repetition, each of Ines' works dictates, with care and precision, different recreational metaphors and could vary them infinitely, until reaching a dream vision without betraying the original perception. The favorite butterflies could not miss! Inés Tolentino said: "In my drawings and paintings, I propose both an intimate interpretation of the house and its symbolic objects as a vision of tropical nature and the ecological problem. The message is always missing, often plural - love, pain, dangers, beliefs, society, identity - ". The commitment of ideas and the complexity of memory are evident in this series of drawings, where the body is also present. And, starting with "Paris 60", an image that is as contemplative as it is impressive -departing in a Parisian café Fernando Peña Defillo with Luis Feito and another friend-, Inés Tolentino, underneath the portrait that she acrisola, seems, in an exquisite collage, defoliate petals and pages of memories penetrated with nostalgia. The shaken invoice of the crayon, the singular version of the "model", the autonomous coloring, the light material, become dialogues and suggestions, recreating forms, spaces and atmosphere, inseparable in their power of evocation. The generosity of the recreating process and the aesthetics of the representation are also observed in the works of Angel Urrely and his very serious construction games. We enjoy the magic of an appropriative "recycling" and special metamorphosis, applied to the work of Fernando Peña Defilló. Much more than an analogy, he proposes between experimentations and evasions, a strategy to dedicate his urban and housing topography to the historical patrimony of the master.Angel Urrely, by intimate artistic conviction, never loses contact with the building -in its own and figurative sense-, maintaining an unquestionable affinity with the geometry, the lines, the perspective, the ascending forces. Conceptually, in fascinating and fascinating designs, he expresses permanent and piercing anxieties about the inexorable wall and the neo-disappearance of nature.Fernando Peña Defilló suffered this anguish until the total rejection and finally moved to Jarabacoa, the humble Creole roofs, the greenery of the mountain. When he painted a habitat, it was the traditional Dominican house, modest, peasant, where the doors were windows and the walls ...Angel Urrely integrated this house into his world of utopian architecture. By way of revenge -utópica also-, he raised it in fortification inside blind and brick walls, centered it within the infinite multitude of skyscrapers, miniaturized and unbearably anonymous, or reflected an allegory of the dawn with republican ornamental elements, metaphor of radiant hope , dominating the sea of towers ...Fernando Peña Defilló expressed it: "The dehumanization in all aspects of contemporary life, the disproportion of man and his habitat is not an obvious contradiction, the bigger the smaller room is the one that inhabits it?". There is no doubt that the works of Angel Urrely confirm it.Enviar comentarios
