Deliriums of Lúdica
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
