GALERIA ALEGRIA
 
 
 
 
 
 
 
 
 
 
 
 

Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022

 
Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022 Jorge Diezma / Los ojos de un topo ciego / 15.01 - 3.03 / 2022

 

 

Pliny the Elder tells the anecdote in his Natural History: the Greek painters Zeuxis and Parrhasius organised a competition to determine who was the best artist of their times. Zeuxis presented his now-famous still-life of grapes, painted so realistically that it caught the attention of passing birds, who darted down and pecked, hungrily, at the canvas. As for Parrhasius, he brought along a painting covered by a curtain. When it was his turn to show what was underneath, Parrhasius revealed that the work was in fact the curtain itself, painted with such skill that it could barely be told apart from real fabric. Even Zeuxis had to admit that Parrhasius' artwork was greater than his, because one thing is to trick the birds of the meadow, but quite another thing is to fool an experienced artist like him.

This story is relevant to Jorge Diezma (Madrid, 1973), since his work has always revolved around representation and all its virtues, conflicts and tricks. As such, in his new exhibition at Galería Alegría, the artist seeks to place himself somewhere between the certainty of pictorial matter and the uncertain representation that it allows. In "A Blind Mole's Eyes", Diezma tries to inhabit that space, ever in permanent tension, and turn it into a field of applied research.

Although Diezma's work has always been based on classic genres such as still-life, landscape or portraiture, this time he delves into abstraction, treating it like a genre of painting akin to those just mentioned. The forms that appear in this exhibition are not the result of an analytical breaking-down of reality. Quite the opposite: Diezma's approach is like looking at a place through an infinite zoom, getting so far in that you even see the microscopic elements that make it up. Sometimes we come across spaces of geometric contours; elsewhere we discover strange fields, gloomy and convulsing. Scraps of canvas, superimposed on the paintings, add to that almost scientific feeling of transcending distinct material planes.

We are observers, therefore, of a subatomic painting, which the artist activates by playing around with a kind of uncertainty principle. As such, he ultimately presents a series of paintings in which the very precipitation of the oil paint, over time, is what determines the work's final structure. This is a demanding and highly intense approach. Later in the process, there is a return to representation whereby the artist himself repaints the figure, and so on, in an endless loop.

Jorge Diezma is an outstanding artist, who deftly brings together his mastery of painting with his great conceptual soundness. He acknowledges, at the end of his investigation, that it is impossible to avoid the sublime deception of painting. But he also reminds us that, on occasions, artists must place themselves simultaneously in front of and behind the great curtain of painting - just as Parrhasius did in his day - if they are to create significant works of art. Given this paradoxical position of the painter, the spectator must rigorously assume the role of witness, and note the oscillations of the pictorial matter, ever in search of the traces emitted by its primary radiation by means of its different states and positions. It is therefore a pleasure for Galería Alegría to offer up its space to a unique experience, in which abstraction is opened unto the threshold of its own quantum dimension.