The time chasing the man who tried to grab by the hair to the Occasion
Oil on canvas
73 x 100 cm
Scenario Memorial
Oil on canvas
The coral of the decapitated Medusa
Oil on board
70 x 70 cm
Planetarium PLC Oil on canvas 97 x 130 cm
masked Metamorphosis scrim
Oil on board 60 x 81cm
The drawing lesson Oil on canvas
60 x 81 cm
Greenhouse mystic. Oil on canvas.
73 x 100 cm
Pride Oil on board
38 x 46 cm
Oil on board 38 x 46 cm
Pereza Oil on canvas
50 x 50 cm
Lust Oil on board
27 x 41 cm
Gula Oil
on canvas 50 x 50 cm
Envy Oil on board 43 x 31 cm
Greed Oil on board
30 x 60 cm
Expulsion from Paradise Oil on board
41 x 27 cm
Zoohíbrido
Oil on board
100 x 100 cm
Projection submerged
Oil on board 40 x 40 cm
Carpentry Oil on board 40 x 40
cm
Salto Graphite on paper
20 x 29 cm
whale puppet moved by puppeteers Graphite on paper
23 x 31 cm
Male projector Graphite on paper
20 x 29 cm
Graphite on paper
20 x 29 cm
Childhood games Graphite on paper
20 x 29 cm
Graphite on paper
20 x 29 cm
and Charon Calvary Graphite on paper 20 x 29 cm
Graphite on paper
20 x 29 cm
Centaur
Graphite on paper
20 x 29 cm
manufacture Orion
Graphite on paper
18 x 32 cm
Chimera Graphite on paper
21 x 23 cm
One thing they knew, they learned to master and highlighted the surreal was a dominant myth is likely to be affected by all possible variants, in the same way that any position we take is aware that exchange in the fantasies of the unconscious. The same applies to the cultivation of painting by artist Simon Arrebola he undoubtedly seems to stem from an intimate reflection exercise, self-respect with the world, the product of an effort to understand, but also, where appropriate, through art, to invent. Now focused on the stelae and the creative potential contained in the myths, a recurring and as old as humanity itself.
In an earlier stage in bleak scenarios abounded Simon and biographical themes of tight young painter, then focusing on complex scenes that told stories and quests. Acts at the crossroads between past, present and future, captured with a large capacity and intention visual narrative. In fact we do not know our own lives and we learn it, perhaps this is necessary to look towards her, the same painting, as is necessary literature, which involves interpreting the behavior and view both the world and ourselves, hence the interest also of the possibility of confabulation that contain structures with polyhedral myths and protein world metamorphosis and conversions. Surely nothing necessarily a literal and explicit world, far beyond their representation.
More than pictures of Simon works are performances, where intentions are configured, and confirmed paradoxes, with the development of imagination and creative energy figure in the formal analysis. Geometry As in other wizards of figurative painting today, it is crucial, in his works is evident or underlying compositions and shapes. Order and virtuality are two of the keys that make it modern, with values \u200b\u200bthat do not disdain the classic, but on the contrary, is adopted as a modern trait beyond natural targets. A code, the language of classical references, in which the artist handles well and feels comfortable while he is used to configure inventions and characters. In this sense, Simon seems to position itself as heir formal volunteer rescue that which marked the period Retour à l'ordre and put the excesses of the regime early twentieth century avant-garde. While enrolled, as a painter, the heritage of Neoplatonic painters, idealistic, and beyond that: alchemy, being aware of the temptations stylists and geeks will not fall, which likely they are some aesthetic productions subcultures related to RPGs. Especially those related to any series derived from Hesiod, Lovecraft or Tolkien. But, and it definitely saves, Simon also believes in the possibilities of high art as an eternal source of fantasies, and that knowledge of great art is the reference point and the link from which the artist can find the possibility to exercise quasi-divine role, which, no doubt, so that may sound politically incorrect today, but that after all, one way or another, turns out to be home and part of the whole process straightforward, creating sincere, not cynical and full.
For some formal language codes in force even in the modern figuration of the last decades of the last century, also we can trace in many current artists, to give a paradigmatic example of the emergence of a certain formalism pre-eminently modern and reductive, remember that the same David Hockney Bradford left his home for California: one data point that makes a take-off stage of the Young Contemporaries of the sixties, which still leaves one in which the influence of American abstract painters to return permanently to the human figure. A fact which undoubtedly refers and reconciles two traditions: the academic naturalism and the new modern tradition, built on issues and arguments immediate family, inconsequential, sexual, beautiful and always biographical. Thus emerged naturally as the first and only argument in contemporary figuration of great influence in the later painting. This will be a decisive factor in shaping a plastic type of representation that cultivates Simon Blust as a painter.
But life as a literary argument always has traces: lines and lines of action: schemes to be able to choose, select effectively. Jung noted that all of us to suppress the unconscious meets and casts a shadow over the world. However if we are trapped in our universe we see as the literal reality is continually remitologizada, a fact that has shown in his magnificent essay on Patrick Harpur daemonic nature.
On the other hand, is more revealing than most biographies of artists, especially visuals, a fairly common: the initial affinity of these into a kind of imaginative painting, a painting of content more or less sublime, fantastic and suggestive content as a starting point in which we can ultimately learn. Germ actually are moments in confirming certain attraction to artificial capacity, by setting imaginative worlds undoubtedly fascinating and uncertain, but true in its own initial magnetism, free of prejudice. This is one of the moments of discovery and, in fact, a first time foray into the creative possibilities of painting: the ability to create possible worlds themselves, where the world is projected staff. No other thing is the art at the source on each artist and painter.
In the case of Simon the starting point is organized, according to his own words, from a concern, desire, the need to convey. For this part of magnetized to shapes, objects or symbols. It is in any case, voluntary complicity with an audience as possible, from the very origin of the genesis of the table in turn may be motivated by a discovery, an experience or revelation, as parts of some emotion or memory drawn personal memory, nature, film, television, etc. as part of the huge multiform natural history cabinet or chamber of the wonder of the world.
But the space of imagination is logically intertwined with the sediments of memory, in a psychic space to be explored, knowledge of the possible languages \u200b\u200band possess unique mechanisms that provide the creative process. Simon can add and add, subtract, and deconstruct, design, absent and present figures do, invent architecture, scenery, monuments, interiors and exteriors, nature and artifice. Fables and described. As in the works of his admired Hieronymus Bosch, are all actions that are paralleled with the metaphoric processes of the old alchemy otherwise so attached to the processes of the psyche. Precisely the same space: the creative mind, theatrical, you have to turn to the outside, and revealing in many of the proposals that offers Simon, emanating both the Apollonian and the monstrous, hybrid or paradoxical This uncomfortable and unpleasant, the serious and the frivolous, amoral and virtuous, the fine and the grotesque, dark and light. Dualities are nothing, in short, the multifaceted world of fantasy and protein, discovered with surprise and confirmed the stories of the myths. So each of them we can glimpse a part of its structure and open or explicit content, much essential and metaphorical language of art.
In summary, Simon's art is not blind, but for people who have a cultured background and kept secretly in the space of Psyche, the wife of Eros, the god of love. A universal subsidiaries which must be cultivated and extended. His painting is neither physical nor chemical and alchemical metaphor but as noted, but in its resolution inventive, is clear and modern, clearly set, explained also by conscientious drawings in each of its processes. His art does not translate, he invented. In that and in their proposed program in its very articulation, Simon outperforms any illustrator capable, by its very claim to transcendence and its ascendancy in the artistic lineage, which in his case back beyond their predilection for European Quattrocento art. With the pretense of being a great little theater in the world, Simon's art is self-referential: an art that speaks of art. All this through liturgy and rituals irrational actions inserted into civilized scenery, cutting medical or Hollywood.
Juan Fernández Lacomba
September 2010
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