Lúdica
deals with truth and its communication. Through a reduced pictorial
ritual, Fernando Ureña Rib proposes to establish a link with the viewer
that would not take for granted the legibility of the image. Or that
would accept that the truth could not be said about the truth.
Although in
Art always exists the risk of in - communicability, for Ureña Rib only
Art can establish a real inter-subjectivity. Each image has the
substantiality of the body and should, in turn, become unsubstantial.
Consequently, Ureña Rib's artworks can no longer be looked at with a
temporal ordinance. The visions of these paintings can not be based on a
linear sense of time; nor even on continuous present. Thus, without
losing its distance to the observer, the Painting acquires the intimacy
of the figure.
The surface
of the canvas becomes filled with external monologues, with the effects
of a fluctuation between what is closer and what is remote, which
precisely constitutes the relation of a body to itself. These pictorial
monologues are moments that always return alike, at different heights;
not of time, but of the body itself.
With
repetition, the movement of the figure itself detaches the image from
its subordination to the anecdote. The non substantial space that
encircles the bodies seems in turn to surround an effective vacuum, an
achievement, because it refers to the only feeling about which nothing
can be said: Enjoyment.
Of course,
Ureña Rib does not work with the ineffable. There is no agnosticism in
his paintings, but an acute realism about the truth and the modes
adopted by those few things that can be said about the truth. Lúdica is
the human figure painted without identity, without stories, without
time. A figure deprived of memory, because it is the game of the living
bodies in the space of a totaling identity and a critical fusion between
bodies and space.
Gina Franco
