by Juan Domínguez Lasierra for Vicente Pascual 20
FRAGMENTOS exhibition catalogue.
Traveling show through Guadalajara, Zaragoza, Logroño and
Valencia, Spain, 1996/1997
face the present artistic work of Vicente Pascual is not like jumping
in the void, although such a thought could be conceived at first
glance, but it would be superficial. Because these geometries or
the geometric fragments that Pascual proposes to us, are but the
continuation of his landscapes that years before seduced us with
their harmony full of internal tension. Given that those landscapes
were geometries that came from natural forms, these new geometries
are essentialized expressions of nature. The landscape expressed
as geometry; then geometry expressed as landscape.
have spoken of harmony and tension. We could speak of serenity and
life, both ofitheseiwere united and inseparable, inihis old landscapes,
in which the static andithe dynamic were interchangeable inithe
background and in the foreground, in an alternance that depended
only in the vital moment of the painter. Here we can continue the
same discourse because his geometry, apparently static, and formalized,
is but the mere canvas, the weft that permits the most vital warp.
Far from being cold and sterile, are these geometries, having nothing
to do with rigidity or rule. Once again we find ourselves in an
intrinsic equilibrium between harmony and tension, between serenity
and life, but above all we find ourselves in potential vitality.
A vitality that tries to brake loose from the the weft to make more
real, more habitable the ultimate expression of the artist: serenity,
the submission of his own nature to the nature he belongs to
his work there is something tantric in the symmetrical forms that
compose its fragments. But it is this very fragmentation, and the
rebellion hidden in each brush stroke, that differentiates his icons
from the other oriental serenity made of rituals and formulas. Among
the points shared between these two perspectives is the idea of
Center and Totality, which inspire all his compositions. To "understand"
and to situate oneself in one of Pascual's works, it is not necessary
to take in the whole painting. In reality, it's totality would span
the Universe, for each fragment of his work symbolizes the Whole.
As in a tantra the the whole is present in the part, but here the
part is by it's own configuration an art object. From the preceding
statement arises the necessity to cut the paper in a random way,
and in fragments.
to Nature and the the weft that makes us one. Unity with our surroundings,
but also freedom to express ourselves as differentiated men within
Nature, giving with our warp the ultimate direction to our existence.
The work of Vicente Pascual is one of profound existential connotations.