Vania Montgomery writes about the exhibition “The prescription of love” by Gaspar Álvarez, in Éxito Mundial gallery. Santiago de Chile, march 2018.
Everything is built and destroyed
That I can’t stop smiling
(Charly García, Part of the religion)
The works of Gaspar Álvarez approaches the scope of the idea of the romantic through the figure of the kiss drawn on ceramics and paper. There also crystallizes the image of separation at the very center of the love encounter, with an access that denies the unique and original character of each relationship. Does not refer to the delirium of the passionate and fleeting ensemble between two people either, but it presents the temporality of the caresses in their nakedness: as in life itself, where nothing is forever and everything prescribes.
The nuances of relationships pale until their extinction. Scars remain, the miss sensation and the pleasure for the nostalgia of what already was. There are illusions of security, which seem to safeguard boundaries, but the truth is that we are adrift, like these drawings and what surrounds the reason for their representation. In this way they will conclude into a break and none will remain constituted forever: Álvarez, on one hand, fractures the pieces on which he draws and paints, affirming the becoming of this cycle, and on the other, illustrates that recondite satisfaction based on remembrance of something that was once raised together and that is now uninhabited.
After the detachment, ceramics and individuals are fragmented and decomposed on the surface, then, they are restored forming a new composition. So, successively, the junctions are composed and decomposed in space-time. The only certainty that these works transmit is that today, in the current state of things, taking for granted the eternity of boundaries is a useless desire virgin and past times.
On the other hand, the artist traces fruits that sprout as presences contained in the ceramic structures, fixed in their interior, ready to be revealed or enveloped by the container that houses them. A first image could refer to the erotic dimension that make possible associations between the containment of the shell and the flesh of the pulp, however, its presentation alone, without living with other elements, exposes them with more coldness and distance. It gives them independence and free oscillation by the sensations that occur in those who observe them.
Finally, by attending the panorama presented by the artist in this nascent exhibition hall, in itself intimate and recondite, and traversing the veil of his privacy -as we do when crossing the curtains-, we accept and conclude what is natural in breakups: everything is built and destroyed, and it is well that it should be, according to our living condition. We fluctuate, we move and we can’t be satisfied and without regretting if we remain eternally on the same place.
About Vania Montgomery (Santiago, Chile, 1992):
Lives and works in Santiago de Chile. Researcher, Theoretician and Art Historian of the University of Chile. He works as an assistant in chairs of contemporary art and aesthetics (University of Chile) and in D21 Art Projects gallery. She has published articles in Actuel Marx, Desastre, Écfrasis, Papel Cosido and Punto de Fuga magazines. Among others, she has collaborated in the books “FONDACU. Stories and experiences of the rescue, organization and putting in value of the Archive of the University Cultural Association” and in the VII Contest of Essays on Visual Arts of the Cedoc.