Editora section recently presented the bilingual book, Spanish-English., By Juan Ascetic “Works 2015-2023” With texts of Guillermo Saavedra, Eduardo Stupía, Fabián Lebenglik and Tulio de Sagastizábal.
In 2009 we made contact at the former Wussman Gallery with the work of this artist born in Chile (1953), who lives decades ago in Argentina. When touring his sample, we couldn’t help thinking about Jackson Pollock and its drippings made while danced or jumped around a fabric on the floor, splashing it with drops and paint sprays.
Contrary, Ascetic and her tangle of brushstrokes that expand, long or interrupted, Dripputs, spatula tip, drops, is absolutely rationalized since the artist always exercised control over that dense but full of nuances that acts as an impenetrable forest.
Throughout these years, we saw him get carried away by the overflow of the gesture, by the optimal placement of the color, different works but that obeyed the same structure. It was also carried out by intuition, by the manual line that changes direction, for the stain that, according to Gilles Deleuzeis the “manual reality of painting.” He avoided falling into the narrative to paint forces, which constitute his identity.
Among the many samples we remember is “Color theory”papers that revealed a thorough, infinitesimal, mathematical, rhythmic brands, minimal gestures, commas, far from its pictorial whirlwind. Then we imagined it inclined on paper unraveling something that can hardly be seen.
An artist who is identified, but not because he repeats himself, but for his internal rhythm that seduces the contemplator who takes him from one end to the other of the plane, trying to unravel the mystery of his painting.
Ascetic works in series and purpose, Guillermo Saavedra He points out that “the series is the acceptance that nothing is definitive and, at the same time, that there is a certain limit given by the artist’s imagination and the materials used, which is not sensible to transpose.”
Asceticregarding the series, he says that for him “they are a way of staying for a while within the elusive nature of the image.”
In an interview he conducted Fabián Lebenglik In 2019 in reference to work with color, Ascetic He replies that he uses between 15 and 21. The colored or general color of the painting varies from one to another like the hours of the days. It is of an almost climatic order, a climate that is interior and exterior at the same time.
Eduardo Stupíathat in addition to recognized artist is a brilliant prose intellectual, in the text “The time of painting and the tempo of music” He describes his paintings as “parties composed under the empire of two converge tempos: the pictorial action, which invades us when seeing them is similar to a allegro Vivace. Once delivered to the dialogue with the spectator, that vertiginous initial impact is slowed in the delicate walk of a moderate Cantabile.
The text of Tulio de Sagastizábal Outstanding painter and also prominent teacher, who adheres to geometric abstraction. Wrote the living room text “Between 19 and 21” For the sample “Tempo” Made at Smart Gallery in 2022 from which we extract some thoughts.
“This sample is the registration, an important part of the three -year record of an inveterate painter: Juan Astic Hold a firm bridge over the endless bad episodes: Continue painting… .. Nada is banal, and nothing is unnecessary.
Juan Astica He has received important awards, including Central Bank, Banco Nación, Municipal Hall of Plastic Arts Manuel Belgrano Grand Prize Ude Painting, First Prize of the National Painting Salon (2016).
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
