12 saw a ladder on the ground with its top reaching to heaven, with angels ascending and descending on it.Genesis 28 12
The well-known biblical account tells us that Jacob, one of the patriarchs of Israel, fleeing through the woods after facing his brother Esau. Night surprised when he stops, takes a stone as a pillow, sleeping and dreaming of a ladder resting on the earth whose top touches the heavens. Angels go up and down it.
The passage has given rise to countless cultural events and numerosísimas paintings, such as the catacomb of Via Latina, Raphael Sanzio, Rembrandt, Ribera, Michael Wilmann, William Blake, Marc Chagall and many others. Also there have been interpretations of Jacob's dream. Angels are going up and down a connection between up and down, between the upper and lower forces; They are evolution of biological life to spiritual life; bridge between heaven and earth; lifting and lowering ...
If we stay with the connection between up and down, we discovered that many pictorial forms (iconic or plastic) capable of displaying the union suggesting to look a tour of ascent and descent: trees, rain, mountains and jagged clouds, columns smoke, light beams, vertical forms, ramps, diagonal, horizontal zigzags and successive repetitions.
Below is the land where our weight and our step falls supports. Below our origin, our humus (the animal, the lower powers, irrational instinct) and also the imagined destination where we end up. Fango the beginning, root, home and belonging; also return, fall and destination.
By raising scrutinize look at the sky for something else, because not enough firm step and the land on which the passage says. Desire to climb that rises to our ancestor Homo erectus and raises his head, his intelligence and spirit, into the air kingdoms of the whole and the cosmos, in the desire to understand (with the development of their "higher powers") where is, what colossal magnitude part. More than anywhere else, the spirit world stands symbolically in the sky, in the clouds. Up growth, lightness, air, flight, light and its source: the sun.
This is not to overcome the opposition between up and down, but to move from one place to another, up and down. Without their ground, thinking may lose foot, rise and dissolve in soft abstractions. And conversely, it does not seem to be going too far to think that runs at ground level, crudely, unable to rise a foot off the ground to gain perspective. This is assuming the movement, perhaps uncomfortable or worked, up and down, without allowing the look and thought settle. It's not about looking (thinking) always loudly or softly, but modulate the voice of thought.
Trees, rain, mountains and jagged clouds, smoke columns, beams, vertical forms, ramps, diagonals, zigzags and successive iterations of horizontal ... invite us to raise the head (above ourselves) to search the distant and recline (below) to find the nearest. They invite us to go up and down, and down to lift us to affirm our vertical and seek our inclinations. It matters little if you never get anywhere, while the movement-and its perceptive increase keeps us in desire. What is life. Look but the monk Friedrich or dog Goya.
José Saborit Náquera 2018
The same sap. Verses, oils, watercolors.
The paintings in this exhibition are born very close to the book The same sap. The shared title suggests a dialogue between poetry and paintings.
The poems speak for themselves.
The paintings recovered some initial impulse that moves the paint: paint what moves, what is love, what is beyond us (the experience of seeing), to interrogate the mystery of the living with paint. There remains intense aroma of traditional oil painting: Fillings, turpentine, glazes, long sessions, overlapping layers and accumulated time on the canvas. And the desire to share that reposed taste, slow cooker, with some looks that I appreciate.
Still present the landscape, but not as a description of the external, but as recognition of internally and externally, attempt to double life to that emotion that colors alike experience of contemplation and the picture that recalls, that atmosphere soul, the emotional tone to which Simmel meant by the word Stimmung.
Plant grows presence. The plant resistance. Vegetable heroism (which spoke Octavio Paz in his grammarian Mono). By green habitat -our first home-, and within, can run the same sap. unitive feeling with everything that lives breathes, and especially what is not excessively twisted and complicated by culture distilleries.
Meanwhile, keeps repeating his mantra sea, as few as persistent presence there as the sea. Therefore, always beginning anew, some painted seas trying to show what remains in what changes and what changes in what remains persist. Nothing like the sea, mirror mythical, insists both repeat this paradox that is ours, our identity and our body.
The dialogue between paintings and poems do not want to be explicit and illustrative. It is suggested kinships between what is said by the combinatorics of words and what is shown by combining shapes, textures and colors. This dialogue can be a source of relations intensify perception and therefore visible awareness, knowledge and attitude. Revitalize our visual connection to the living world is a first step out of the darkness. textJosé flavor.
The words back. They break
against the blue end of my grammar,
because there is no yesterday
tomorrow or now,
only this succession immemorial
sea mirror before my eyes.
"Everything you return to the same space
-be touch, step or resonancia-
only one confused
successive moments. "
You try learning you the lesson
while the light,
The fate of the white is yellow:
no yellow solar,
but yellow time.
Detente under the tree, not germinate
at the tender extension of your impatience,
lies within you, blind in your shadow.
In the deepest vein is glimpsed
the glowing surprise
eyes open to new ideas,
the first light path,
the only salvation of the labyrinth.
Righteousness does not exist, the sea ripples
and returns upon itself any way.
It's time to go and spill,
penetrate the sands
back to spring
Love in the liquid as it flows.
Moving within the limits that bind and separate the landscape and abstraction, painting José Saborit emerges from a look at timeless, contemplative and stripped of anecdotes and theories world, an excited look that you want to endure or to find double life through careful technical combinatorial of matter on the canvas.
Paints, he writes and works as a professor of painting at the Faculty of Fine Arts of San Carlos de la UPV. It has recently been named Academic Elect of the Royal Academy of San Carlos.