The
ineffable rule
The
Ineffable Rule is a "call up" through landscape painting…"Pagus,
locus, that is the humanism of locality" (J. Claire). It
is just the opposite to the totalitarian utopia of the global,
contrary to what is frightening and universal. The Ineffable
Rule unites "country" (in its exact meaning) and landscape..
It is through the landscape painting that we get back the artistic,
historical and social memories. It is also through it that we
recognise the basis of our own sensibility.. The fidelity of
those things close to us give us the chance of escaping from
the blind globalization. We take the risk of forgetting how
the other looks like if we do not know ourselves.
The Ineffable rule makes a criticism about partial positivist
and evolutionist systems, those systems that make use of the
"vanguard" from a suspicious, dangerously useful attitude.
(vanguard in the sense of optimistic progress where the act
of discovering cancels or improves what was previous).
Tradition is relegated outside social and institutional forums
of discussion. In fact, what we have is a pseudo-dialogue between
institution and spectator (the spectator is subject to ideological
weapons).
This kind of discussion does not take into account the tradition
and the local items….Thus this open, public and democratic
debate becomes a monologue, a learned speech, endogamic and
excluding in addition..
Nowadays we have got a fanatical and intolerable vanguard that
preaches in the emptiness, a domesticated vanguards that eats
from the master´s hand but of course never bites. The
Ineffable Rule distrusts the indomitable expression of those
artists with enormous and stupid Ego. The ones who create a
work only understood by them. We must be careful. We only must
trust the artist that knows You…or tries to know you because
this is the Free Artist.
Contemporary art has forgotten its duties and its capacity.
***
There
is a smell of painting….despite those nose that get stuck.
Painting requires an effort that not everyone is able to make.
It is a hard and dirty job. It requires strong commitments towards
the art work that not everyone would assume.
The language forces.
There are subjects in painting which are tradition and provoke
clashes between the artist and the represented object. Man-Nature,
Artist-Landscape is to me the most powerful, essential and arid.
We can just talk of what we know, nature is totality, the piece
of art is all we have.
Mine
is a painting exhibition. There is no subject. The paintings
have no title because in this particular case, the do not develop
any speech, they do not depend on each other, they do not recall
anything at all. It is just a representation and it happens
on the surface. There is a premeditation.
This
exhibition is an unquestionable and uncomfortable sample. The
spectator will never be indifferent. My painting is going to
whistle at the ears of the supporters, of the curious spectator
or the one who does not want to hear.
If
you get close to my painting you will recover. My painting is
a humble, there is no use of words, it is not a testimony either.
My painting is unity and continence, it is plenitude and it
has its own language. My work is full of certainty and dignity.
Leaving
marks but not clues. Whoever wants to know must approach my
work. There is nothing to be cleared. My paintings will watch
you and will make you vulnerable….please let them penetrate
you.
David López Panea
March 2004
