FLEETING by Gertrud Gómez
So is he, fast.
He flees and disappears with speed,
but at the same time he is eternal and immutable,
something that makes him unique and true, as opposed to the transient,
with what is brief.
He recreates and repeats linear landscapes, dragging us to visual feelings.
Travels, experiences, recognized routes remaining in our retinas and following
in our memories.
Landscapes where each and every one of those territories pass, as dots in motion.
Landscapes that will never be the same again,
not even a little later, even in the same season and at the same time.
There is always a changing whole, of very short duration where nothing remains the same,
a whole that perpetuates the work we are contemplating.
As an artist, he is interested in appearances, fleeting elements,
the imbalance as a natural state of things, because he knows that he deeply moves the viewer with it,
with the clear intention that this one, the one looking at it,
will never be impassive in front of what they contemplate.
A style trying to intoxicate, so it is the senses that decide what is
transitory. And in the other hand stays in the eternal, the immutable.
The only thing, the true, is replaced by the repeated,
and again, by the fleeting.
Antonio manages to achieve the simplest and most pure form of expression,
which is both the most dynamic and varied.
Lipszyc tells us that the line defining a contour is an invention of draughtsmen because ‘in nature an object is distinguished from another by its colour or tone difference’.
The chromatic and geometric differences he uses are producing transient landscapes
created with simple lines, and penetrating us with intensity in an ephemeral, fleeting world…