Photo of Bol Pereira Venezuela

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Biography

La semblanza del artista

Habría que comenzar diciendo, para hablar claramente de las cosas, que estamos tratando con un degenerado de pura cepa. Sería un absurdo post-dadaista pretender describir o explicar razonablemente a un salvaje que lanza la pintura compulsivamente, como un mono arrojando sus heces desde la jaula. Como un baterista de Jazz, descomponiéndose luego del tercer trago y la cuarta raya de speed.

Venezolano por inconveniencia, y caraqueño por fortuna, ni siquiera la...
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Photo of Bol Pereira Venezuela

La semblanza del artista

Habría que comenzar diciendo, para hablar claramente de las cosas, que estamos tratando con un degenerado de pura cepa. Sería un absurdo post-dadaista pretender describir o explicar razonablemente a un salvaje que lanza la pintura compulsivamente, como un mono arrojando sus heces desde la jaula. Como un baterista de Jazz, descomponiéndose luego del tercer trago y la cuarta raya de speed.

Venezolano por inconveniencia, y caraqueño por fortuna, ni siquiera la geografía lo libera de la paranoia y el horror de una ciudad con venas llenas de coca y violencia. Cada trazo amarillo es el recuerdo de la codicia salvaje, y cada salpicada es un reflejo de la sangre manchando las aceras. La violencia sin sentido. La muerte sin justificación. La pintura sin explicación, compulsiva, maniática, frenética.

Figuras deformes y convulsas, producto de pesadillas introspectivas y viajes al lado oscuro de un inconsciente colectivo que palpita al ritmo de tambores de guerra sedientos de caos, conforman el imaginario de un universo nihilista y perverso. El lienzo se vuelve un campo de batalla contra la razón, contra la academia. Cada cuadro es una muestra de un rincón que se revuelve violentamente contra sí mismo, en un afán autodestructivo sin la menor pizca de intención de volver a construir. El horror por el horror mismo.

La nostalgia tiene también cabida en la cuestión. Mas no es una nostalgia reflexiva ni añorante, sino producto plenamente de una necesidad vital del caos. Del desastre como fuerza motora de las acciones, y como determinante final de la noche. La diferencia entre vomitar en la poceta, o desde la ventana de un carro en la autopista, huyéndole al amanecer. Porque al final, el arte no es más que eso. La impresión, exacta o no, de algún momento de liberación total. De perderse en la bilis espesa que amanece seca, hecha costra en la puerta trasera del carro como disparada por una escopeta. De deshacerse en la forma y no el fondo.

Los mensajes ocultos, los códices y la búsqueda de algún trasfondo filosófico no son sino una presunción intelectual. Baratijas dogmáticas, para intentar esquivar el reto. Es la respuesta a la necesidad instintiva de comprender el estímulo; de sentirse en control. Y luego del forcejeo, del tejemaneje, la obra no cede ni un ápice de su terreno. Se mantiene firme, erguida y orgullosa, sosteniendo su propio peso a punta de pulso y voluntad. De farmacia y aguante. De hermosa violencia.

Por Pericles Snatches

http://periclitoris.blogspot.com/

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