Incest in the inevitable. Notes on Nacho Martín Silva’s work
In Nacho Martín Silva’s work, the pictorial investigations – both technical and conceptual – move towards artistic formulations that show an imaginary of re-significations. The time leaps, the appropriations – of police files and key references of children’s literature and allusions to the Baroque pictorial tradition – lead to a suspension, perhaps a collapse of the temporal dynamics of the successive, that disrupts any possibility of clarification through psychological introspective codifications. In that his aesthetical interests seek to articulate more widely the evidences of what belong to a common poetic background.
In this exhibition the tensions between opposed major values, the idyllic and the analytical, to conceal and to “dis-occult”, question from which place and under which circumstances the effect of truth that accompanies the visual confirmation is being established. It could be said that it gains, from the conjunction and the dis-occultation of fragments and emotions, multiple and contrary worlds and meanings. This is how we approach, on the roads where it puts itself at risk, the dismantling of some of the limits of representation. Almost as an incest in the inevitable.
By creating an extension of new experiences, his paintings make the world lose some of its tragic burden and they bear the weight transforming the terrible into a space in which the subject is not confined to objective certainties. This conceptual impact speaks directly to the Heideggerian interpretation of the modern era as a time in which the world becomes picture and in which it is transformed by the picture. This image of the world is shaped by the experience of the dissection, of the penetration with the own eyes into the normally hidden within of bodies and compact scenarios full of sinister symbolic capital.
As opposed to a clarifying analysis, maybe the rainbow’s apparently idyllic curve is nothing but a plot made visible, an irregular route that goes from one extreme to the other inaugurating new realities. In this way the idyllic as a distortion, and as opposed to the emotional visuality of the bourgeoisie, brings up the need to recover the frankness of the fragilities dissected by specific places of some unavoidable images of the history of art.
Alexis Callado Estefanía