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 cannot 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.
