Sometimes it seems that the history of modern painting can be read as the history of traditional painting upside down, like a film projected backwards, a regressive dismantling of all those mechanisms invented over the centuries to make The pictorial representations are convincing. Thus, the transparent surfaces were filled with lumps of paint, the spaces flattened, the perspective became arbitrary, the drawing was concerned that there was correspondence with the actual schemes of the figures and the forms ceased to be representative of what the eye really sees.
In the face of painting, Jorge decimates (Madrid, 1973) seems to make that inverse journey. It moves like crabs, in parallel, and from several fronts. Not without irony, crustaceans have crept into some of their works. Together with a more figurative work, like the still lifes of great dimensions, has developed an abstract line that puts the accent on the materiality of the pictorial. And in that tension is the heart of the matter, also here, in the flower Vase, the exhibition that occupies the pavilion Villanueva of the Botanical Garden of Madrid.
Everything has reverberation tints, like the title. We see it in the idea of exposing flowers in the botanical, or in the various layers that the fabrics have reports that build a strange line of floral horizon. And there is a lot of subversive encouragement in the choice of dead nature as a theme for these paintings. The artist plays with the perspectives, though especially with the creation of almost anomalous spaces inside the painting, as the backgrounds behind the vases, sometimes aquatic, and those scenes of another time painted also with a deliberately amateur style. Decimation seems to be recreated in that secondary place that has always occupied the still life in the classic hierarchy of genres until the nineteenth century. And out there he appears again one of his greatest references in the field of painting, the Italian Filippo de Pisis. Like him, Decimates goes beyond the nod to tradition and is dedicated to projecting metaphysical spaces that lead you to another place. For example, the last painting at the end of the room, separated from the string Asincopada, stopped in the abstraction that camouflaged queen of anachronism.
' The flower vase '. Jorge decimates. Botanical Garden. Madrid. Until November 19th.
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