Page 74 - Paul-Ygartua

painter, reawakening his senses, it is changed into tonal orchestration,

into a choir made up of numerous voices or into a concert with a

reduced number of elements.

the painter doesn’t record data, although he starts from a reality

observed on several occasions and also reproduced in an objective

way in the past; what he’s interested in now is the emotional strength

transmitted by what is real. nothing must conform to the real element

from which it originated: the creative combination adheres exclusively

to the moods aroused.

the sensitivity with which Ygartua perceives things means that not

only does he have the usual capacity to identify general structural

properties, but also to discover their dynamic qualities: the artist

succeeds in representing shapes through a game of strengths and

energies that are released through reciprocal interactions, thus

managing to reproduce the expressive value of objects. Ygartua’s art

is a means of understanding the power of the vital movements of the

world, a way of realizing its value and its power; his creations offer

spectators the opportunity to comprehend the relationships that

exist between the various elements that make up reality. In works

like “dark Interlude”, “Infinity” or “kaleidoscope” all the vibrations

PrIMordIaL chaoS bY FLora roVIGo, art hIStorIan, FLorEncE ItaLY

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