....Bernardo Torrens
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MYSTERIOUS ATMOSPHERES. SILENT CRIES
by Gabriel Villalba, Curator of "Four from Madrid. Contemporary Spanish Realism"
... This matter of representing images
is a way of helping oneself.
Moments are fixed as if they had happened
and everythings is endured better.
Einar Jenssen (Unwritten Poems)
Not everything that can be named is that which exists. Man has had, since the earliest times, the faculty of gesture: the code of expression. He has been differentiated and has been precisely enriched by that faculty which separates him the most from his kind. The scrawl. The capacity to perform actions during an affective rapture.
Perhaps the verb was unnecessary. Or it was not the first. Before, there probably was a gesture, a signal. With sufficient capacity to contain everything which could be expressed, man invented a first Ianguage: that of his own body, dictated by his own thought. The scrawl became the stroke, an act of will as a bridge of understanding, perhaps as a silent cry, as a Iaunched probe intending comprehension, with the need of arriving to the other side, the other shore, to the other thought so as to measure his own.
Man invents the way, his way, by means of imagination, of the most intimate. He narrates, transmitting thread; communicates, mysterious thread; like real things that are not, which do not exist. Just thought, transformed into reality, additon, excess. Through the discovery of expressiveness he can externalize, in a definitive way, what he feels, what he wants, but had only been a sketch within him. He subverts the process: reality is created because he names and shapes it. Before this, realty does not exist- there is just the belief that reality exists. The intuition. The re-creation of the intimate, of the animated. Now he is already able to give a certain appearance of life to the finished work; of animating the abstract for the sake of determination; empowering the emission or reception of emotions, of impressions, whether stimulating or depressing, as the unmistakable seat of corresponding attitudes.
The silent language, the mystery, has definitely been found. it is that enclosed place within thought which shows its own circumstances, which expresses that designated things are really only one, even in different cases. There is capacity to transmit; there is movement. Then everything flows from mystery into clarity. From thought to hand, man moves and intends to invent that reality which does not exist and so he faces his own. In this struggle, and without words, he uses his strength to get rid of the obstacle: the deep instinc. In fact, he translates it into strokes and with it there appears, at Iast, the created reality, adapted to perception, to what is felt and coincides in its essence, what a thing is, disregarding the dictates of sense. Reason.
We could give the name of stroke to drawing. Perhaps the best way to understand the concept of painting would be comparing it to language; it could also be considered as a whole, but all this only thought. A rare environment, a given space where Iimits are impossible to establish because it is limit itself. Thus painting, thus drawing. The perfect path to transmit the intimate into light through the exercise of doing, the faculty and freedom of choice. The option.
Thus realism touches us not for its capacity to fix perceptions but for its privacy, its hermetism and tight outline representing the intuitive, the meditated on, which is raised to the degree of creation, giving it the possibiIity to exist.
This exhibition, developed by the Oglethorpe University Museum, gathers, from very different ways and very diverse positions, conclusions which will serve as an agreement to everything said before. Four actions, four different ways of perception, of understanding with the senses or with intelligence something so unapprehendable as reality.
From the collection Four From Madrid let us pay attention to Bernardo P. Torrens' emotion:
StaIked reality. The cautious watch.
The objective of watching, of waiting for something to happen in order to apprehend it, as contained emotion, presides over each of the painter's works. To grasp action and have it stay, be it object or subject, as a substantive. Quiet as a reflection of a previous event so that it can be named, not for what it represents, but for what it was. Freezing resonance of the discharge, of the fixation of the previous instant.
Taking time to its previous event, preventing the solution of the drama's actions. Letting the point of reflection hang freely with the plumb line pointing to the heart is the proposal, the presented project. Keeping the position still so as to calm the opponent.
Static reality which is not given to lust though it may show its code. Peaceful oration which tells its laconic speech of ready flesh, eternal embrace, sealthy glance for the gray glows which separate us from carnal sin.
lnciting spiritual act, amorous surrender which for the sake of love transforms and perishes.
Authentic reality, like the one supported by a country of joy where the air stands still so as to be reflected in a mirror.
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