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On a warm, slightly textured, ochre background that does not cover the white primer on the support base evenly, there are six wide cobalt blue stripes, with a wide, rake-like imprint. The warmth of the background throbs under them. Its cold colour, light matter and gently undulating vertical shape suggest a flowing watercourse. On them, twelve slightly greyish white spots of almost ethereal density that at times allow the cold fluidity of the blue come through, while at other times blend with it or cloud it. They evoke tatters of air, wafts of atmosphere.
All these forms —possible image of natural elements— hold two rigid, rationalised, rectangular structures. Both are slightly displaced to the right about the vertical axis of symmetry and ordered along its direction.
The size ratio between the vertical and horizontal sides of the picture has a ratio of 1.41, i.e. √2. One could ask: Is this system used to configure the forms and order them in space?
There is something of this. Firstly, the ratio between the longer and shorter sides of the upper rectangle is 1.5, next to √2. On the other hand, if we consider the “basic composition square,” where it is placed, we can observe that the size ratio between the empty spaces above and below shows a proportion close to 1.4. The same is true if we compare the size of the space between two rectangles with the height of the bottom rectangle. We also find it by comparing this last dimension with the noticeable space between the top side of this rectangle and the lower limit of the “basic composition square.”
Both rectangles are formalised by well defined white segments. The top one is divided into two halves: the top half has four horizontal segments that delimit five empty spaces; the bottom half has five vertical segments in six empty spaces. The space between the top and the bottom rectangle are equivalent to half of this, and the height of the upper rectangle is three times that of the bottom one. In the lower rectangle the five vertical segments and their parallel sides delimit six interspaces. In the two rectangles, the sequences of “full” and “empty” areas are ordered according to the ratios 1/1, 1/2 and 1/3.
As with the plastic formalisation of the images, both these ratios and the discovered proportions do not seem casual, but rather the children of a conscious will to symbolise the coexistence of two realities —a rational one and an organic one. Metaphor of how the interaction of the basic elements of nature holds man’s intellectual constructs?
The red ochre, nurturing earth and regenerative fire; the blue, fertile water; the white spots, creative breath... All this supports the rectangular geometry in this work of art —i.e., man’s intellectual constructs —his cultural artificiality— are superimposed on it.
Javier Suescun Molilna