Page 78 - Paul-Ygartua

artist hasn’t simply identified and selected certain features of the

sensitive world, but has chosen to recreate its expressive dynamics.

Inside these visual statements, where the work is an authentic

emotional thought and a tribute to the flow of vital energy, one

also finds formal references, included largely for their metaphoric

significance rather than for their objective value.

the painter tells us about those dialectics of the game which, breaking

free from the confines of the chessboard, extend to the whole world:

the pawns moved by the players are simply men, whose lives are piloted

by a higher will. the black and white of the checks push us towards the

unknown, in that lucid gestural and chromatic confusion, where reality

and game merge into an unspecified dilation of space and time: the real

world dissolves into one inorganic mass, to flow into new existences.

also in the exultation of the female form, as in “Femmes du carnaval”

and “Spanish nuns”, Ygartua praises life and its origin. Primitive faces,

with synthetic, intense features, reminiscent of african masks or Egyptian

faces join with voluptuous and flourishing bodies typical of divine figures

paying tribute to fertility and procreation. the womanly figures, portrayed

with a few sinuous but basic black lines, emerge from the aesthetic disorder

beneath, as if life, despite everything, can be resurrected infinitely.

PrIMordIaL chaoS bY FLora roVIGo, art hIStorIan, FLorEncE ItaLY

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