Public University, 2000

When Pedro paints, he has one eye open to his inner world and keeps the other awake to the outside world.
In this picture, his look at the Public University campus selected seven trees, grass, and the Services, Rector’s office and Library buildings.
His inner eye generates an excited intellectual appropriation of reality as seen, pretending, in a deliberately arbitrary reconstruction, to hold that rigorously plastic structure in which forms validate the quality of the painting.
Synthesised in planes, the images offer the conceptual reality of the model but, at the same time, they maintain particularising elements, of certain trueness, favouring his personal mood. Delineated by a very discreet outline, the forms are cut out on each other in spot colours of an intense but well-balanced chroma. Among them, there is a privileged knot of attention of the two masses, red and carmine, slightly off-centre to the left, and installed before the image of the Rector’s office. They powerfully attract our eye, but, immediately, by a game of pressure compensation, it is rebalanced by the request of the intense dark red standing out from the black grey of the copse of cedar trees on the left at the forefront. It is then led on through the five stripes of shadow of warm brown earth, projected on a muted light green lawn: first the tree masses in shaded orange on the right —which balance the strength of the red cedar thanks to their surface area and brightness— then to the ochre-yellow mass and the gold of the bush in the second plane; from here it is taken, again, to the centre of attention first, which leads one to the warm plane of light earth, the Rector’s office; which with its pale blue flashlight raises our eyes to the sky and the tilted side of its lateral plane descends to the light greenish ochre-yellow mass of the Library building, the most distant shape.
This visual tour —there are other possible ones— is powered by the light in the painting that marks light and dark milestones depending on the colour of each flat form. It emerges from inside and without any kind of objectifying modelling, it radiates its ‘universal’ luminosity across the entire work.
The material is neither scant nor excessive. It conforms to the conceptual nature of the image. Its cleanliness does not upset the chromatic and luminous intensity of the colour; but it does issue its own voice; applied with finesse, of uniform texture and density, compact, lean and velvety.
Born of a sentient intelligence, this picture is moderate, warm, bright and balanced, offering a rare agreement between the conceptual and the organic, between emotion and thought. Appreciably better from the aesthetics of feeling, its ideational internalisation of reality provides it with a ‘classic’ spirit.
Javier Suescun Molilna