THE STRUGGLE OF JACOB the-struggle-of-jacob | Page 30

With the exception of some abstract painting depicting only
textures, geometric compositions or indefinable structures,
generally in paintings there are elements which are quite distinct
and recognizable forms, in my case geometric solids.
My language has developed in this direction so completely -
rather than towards the natural figurative or abstract - first and
foremost because to me the geometric perception of reality is
innate.
On the other hand, from a conceptual point of view, I find this
manner of expression very effective in representing the essential
structure of physical bodies. The infinite natural figurative
possibilities have been extensively explored by the visual arts for
millennia, from the symbolic to hyperrealism, from impressionism
right up to the dissolution of abstract art. Today even photography
is overwhelmed by the digital reproduction of virtual images, and
the visual bombardment of high technology has overburdened
the landscape. It is only with difficulty that we are able to select
images of quality with true freedom and to dwell upon on what
really makes sense.
The linearity of geometric solids does not interfere with
their plasticity. They are essential bodies. It is easy to
seize immediately their dynamics, tensions and energy,
without in any way dissipating ancillary details.
In order to represent Jacob and his adversary I took advantage
of a recent work called THE PILLARS OF ART, and in doing so
I gave it a continuity. In those 10 paintings, two semicircular
solids confront each other in a kind of pas de deux or erotic game.