Wheel of Dumb Torment
The privilege of painting is the opportunity of ‘non definition’, very close to intuition or unconscious. Things are told, but always opened to a moving interpretation.
A picture is built as a novel: first there is the conductor thread, present during the whole creation, but going quickly from foreground to a place of support, as a note given to the choir ready to sing. This chord goes through the Whole, giving way to the Rest, variations of all sorts, some full of gracefulness, some of gravity or pain.
An undulation around a framework. This framework losing its importance, giving place to the undulation. Union of opposites. The framework is stability, the undulation, uncertainty and adventure. Both together are from a perfect aptness, and from a pure impossibility. They complete themselves and mutually disturb themselves. Often is given to this second one the privilege to be right, face to the world, to go towards the public, to disappoint or attract.
The picture’s chord is the torment, always indefinable, always moving, changing constantly, and constantly in search of stability. It goes through the world without being seen, and taking beings and things away. Indispensable and dangerous, quietly, it sweeps all away. The serious events happen in silence, without scream, without lamentations. Drama is not theatrical. It nails us in its torment, and it is only when it runs through the world and comes us back, transformed, enriched, fed by its own route, that it seems full of sense.
Here is the way how a torment, movement, rolling, change, unforeseeable, unknown, becomes a picture, a chord, the stability, the conductor thread, the note ‘A’.
An artist must always attempt the impossible. The torment may allow, better than everything, to wonder about the border between the individual and the collective. Coming from inside or outside, the torment invades us; it is present to prove us our infinite distance from the Other and our hopeless quest to create the link.