THE COLOURS I INHABIT

THE RESONANT COLOUR OF JAVIER AOIZ ORDUNA

In painting, the only certainty is the gaze of the artist who, in his incessant search, revitalises the world, widens it, builds it and makes it come alive for us.

Javier Aoiz Orduna fights against the blindfold that trivialises reality in his chromatic restitution of matter. As Paul Klee said, art does not reproduce the visible; it makes visible, and there is something overflowing and primordial in the ‘making visible’ of these canvases scorched by the light that Javier presents in Los colores que habito (The colours I inhabit), his most recent exhibition.

As Italo Calvino imagined in The Invisible Cities, Aoiz Orduna’s urban landscapes resemble those mirages that miraculously emerge from the flaming asphalt.

New York, Cádiz, Zamora, Madrid… for the artist from Madrid, they are cities without limits, enclosed only by the filigree of architectural reverie which, however, does not allow us to penetrate inside them. It is the clean horizon that speaks to us with its magnetism and inhabits us through colour, where pure white no longer exists, only its resonance.

Despite recognising them as masters, Javier Aoiz Orduna’s still lifes are not satisfied with Morandi’s earthy palette, nor do they seek to enhance the tenebrism or the illusionistic plasticity of Zurbarán’s still lifes. There is something original in this unlearning that led Javier to take the opposite path: from abstraction to figuration, under the Cézannian law of the cone, the cylinder and the sphere. Perhaps this is the reason why in his reencounter with objects we can glimpse such a delicately luminous and poetic atmosphere.

In each of his artworks one can also see the joy of painting, beyond the mastery of the craft and/or technique. Aoiz Orduna works from dazzle and blindness, that is to say, from authenticity.

His painting is still recognisable and that is always a great quality. But without forgetting, at the same time, that in art there is only truth in its perpetual search, as demonstrated by the large achromatic canvas that opens the exhibition with the only human representation of the whole exhibition: Marilyn and I, an immortal reference for Javier, a precursor image, without doubt, of a new creative path that will bear fruit.