FIN DE PARTIE

CHEMA COBO

With Fin de partie, I return to the topic that occupies my work since some years ago. The traps of pictures tend to viewer’s eye.

We are surrounded by images we live among them. But the picture is neither a mimetic extension of reality nor a reflection of itself. This bend makes me watch reality as a fiction, and fiction as a supposed reality if it were. With these images I would like to point out the differences between what we see on the surface and what we see behind the images. The reality is as subtle as the curtain of a theatre, what we see illuminated, when opened, reveals another curtain, and seeing him with another lighting seems new, but is the same. Perhaps behind the curtain has just lit darkness, but before seeing the light that lit the curtain, make us believe that we are still seeing.

Only dramatizing, only making use of the masks is possible to highlight the image as mere representation. All events which seen in pictures, is the example and its character is just artificial. My painting is not moved by reality, it is not realistic, in this sense is absolutely related to the immediate life.

I think between painting and reality there is a border: our magmatic consciousness.

Painting is a vague, blurred, out of focus of accumulated debris of consciousness. This viscous magma of impressions in consciousness has become fixed patterns of perception that drag us to believe seeing reality as a coherent model. I would like with my work create slow looks, short circuits (and increasingly more and more formal avoiding distractions).

In a painting always has to be something that is not exactly what is expected. In fact what I try, with a growing economy means is to force the visibility of given images, subtly subverting what one expects to see given the elements shown.I take a common object and only moved it slightly...

The art happens in this space between pure perception and automatic interpretation and awakens new ways of seeing. I try to lead this interaction between the viewer and the work by successive gaps and inconsistencies in the narrative structure. And then I try to keep it there, in suspense, in a world of potential. As Beckett would say: "One hundred birds flying are infinitely more valuable than one in the hand".

This exhibition, Fin de partie, is designed to be seen in a certain space, in this case in Galería Miguel Marcos (Barcelona). Although each painting is autonomous and can be seen as such, in relation to the others invites to prolific and complex reading. In turn each space of the gallery with these paintings is an act of the final work.

Chema Cobo