7/30/2019 Ciria Cuaderno Notas 1990
3/48
51
A finales de los aos ochenta mi pintura era an figurativa, haba
realizado numerosos experimentos intentando saltar a la abstraccin,
pero
los resultados eran francamente decepcionantes, y no quiero
decir nicamente que no "comprenda" lo abstracto, cuando lo cierto
es que
algunos de aquellos ejercicios tenan inters y eran atractivos en
cuanto a composicin, color y textura. Experimentos, que en algunos
casos
me arrepiento de haber destrudo.
El principal problema, visto desde la distancia, es que mi
formacin era clsica y autodidacta, y no saba por donde entrar en la
abstraccin.
No consegua "creerme" aquellas composiciones, no poda entender
la pintura como mera experimentacin formal sin sentido y sin
rumbo.
Quera hacer pintura abstracta pero continuaba anclado en la
figuracin, la pesadilla dur aproximadamente dos aos. El salto, al
fin, se
produjo con bastante naturalidad por medio de una doble va. Por
un lado, estaba trabajando en una serie denominadaHombres,
Manos,
Formas Orgnicas y Signos, dicha serie como su nombre indica
estaba formada por cuatro familias o grupos de obra, los dos ltimos
tenan
una vocacin claramente abstracta que nicamente haba de
desarrollarse. Y por otro lado, la sincera necesidad de generar una
plataforma
terica imbricada de toda una serie de preocupaciones
conceptuales. Es decir, mi deseado salto a la abstraccin, vino
propiciado, aparte de
por las experimentaciones plsticas en este sentido, por la
dotacin de una especie de "percha" terica o sistema, que me permita
desarrollar
todo un genuino campo de investigacin.
Muchas de aquellas preocupaciones tericas se recopilaron en un
pequeo cuaderno, que siempre me ha acompaado. Anotaciones,
ideas,
bosquejos, pensamientos de Benjamn, de Kandinsky, de Tolosa,
referencias a Malevich y Beuys, aproximaciones irresueltas a lo
semitico,
garabatos sobre mis diatribas e intereses. Lo sorprendente, si
alguien consigue descifrar mi letra, es que todo lo que ha ido
ocurriendo en mi
obra durante toda la dcada de los noventa, ya estaba
perfectamente esbozado entre sus renglones. El espectador podr
observar que existe
un enorme paralelismo entre las anotaciones y bosquejos,
infinidad de conceptos incluidos en mis textos y, muchas de las
obras que conforman
mi produccin.
By the end of the 80s my painting was still figurative, I had
carried out many experiments trying to move into Abstraction but
the results were really
disappointing, and I do not mean only that I did not
"understand" abstract things. Anyway, the truth is that some of
those exercises were interesting
and attractive as regards composition, color, or texture.
Experiments that, in some cases, I regret destroying them.
The main problem, once time has passed by, is that I had a
classical and autodidactic training. Thus, I did not know how to
come into Abstraction.
I did not manage to "feel" those compositions, I could not
understand painting as a mere pointless and aimless formal
experimentation.
I wanted to paint abstract things but I kept anchored to
Figurativeness, and the nightmare lasted approximately two years. I
finally moved into
Abstraction, and quite naturally, by means of a double way. On
the one hand, I was working on a series called Hombres, manos,
formas orgnicas
y signos(Men, hands, organic forms and signs) which, as it name
suggests, consisted of four suites or groups of paintings, the last
two had c1early
an abstract calling which only needed to be developed. And on
the other hand, the real necessity of creating a theoretical
background interwoven
with quite a series of conceptual concerns. That is, my desired
movement towards Abstraction was brought about, apart from plastic
experimentations
in this sense, by some kind of theoretical "hanger" or system
that allowed me to define quite a genuine field of
investigation.
Many of those theoretical concerns where collected together in a
little notebook that has always accompanied me. Notes, ideas,
sketches; Benjamin's,
Kandinsky's, Tolosa's thoughts; references to Malevich and
Beuys; unsolved approximations to semiotic matters, scribbles about
my interests and
diatribes. What is surprising is that, if anyone manage to read
my handwriting, everything that has happened to my work during the
90s was already
and perfectly outlined in this notebook. The observer could
realize that there is parallel between the notes and sketches, the
countless concepts
mentioned in my writings, and the lot of works that compose my
oeuvre.
