TESTAMENTO
CASA IMPRONTA EDITORA, GUADALAJARA / 2017From TESTAMENTO
The present exhibition is addressing as a raw material a disease that determines The artist's work for some years: the hemicrania. For those who suffer from this disorder, the light ceases to be synonymous with life and joy to become an obstacle, a source of pain
and anguish However, Testamento arises from posing such a condition as an occasion for creativity; That is why the exhibits intend to pay tribute to the migraine, to the encounter between the artist and the light.
The photophobia caused by severe headaches is presented as a condition that alters The perception of the artist. This fragility before the light is paradoxical, because although it chooses as its head battlefield - traditional field of reason - its acute manifestations they attack the senses in the form of waves that deeply affect emotions. From somehow, through this disorder the testa becomes a combat place between the artist and light, and as a result of this encounter the altered perception of colors and their luminosity moves to the plane of the mood in the form of restlessness, of despair.
For Juan Carlos Guerrerosantos, hemicrania is his tattoo, it represents an experience
initiatory where the creative act arises - precisely - in response to the anguish. Now, as Sloterdijk points out: “There where there is domination of the modern citizen's talk there may also appear a hunger for existential signs, for bloody incisions and for existential signs marked with fire. Although we know that tattoo without language is pure and hard monotony, it is also true that language without tattoo is pure arbitrariness.”1
In this sense, the exposed pieces have their origin in the transformation of the tension
nervousness and the experience of pain in artistic language, sublimated the torture through
language.
In the words of the artist himself, migraines reveal “a light snake”, and the object of his
artistic work consists, therefore, in distilling language from its poison. His Testamento charges
form through confrontation with the affliction that is hidden at the bottom of the glare of the
colors, in the light where the snake nests. In this sense, the various pieces that make up the exhibition represent cycles and segments of cycles of that struggle that are intended
crystallize the experience of a painful light that manifests itself in intense lightning
chromatic Thus, the sample consists - in tune with the author's suffering - in a invitation to observe the sound and listen to the colors, without forgetting, as Brodsky observes that
“If something teaches art — first, to the artist himself — it is the private character of the human condition ”.2
- Juan López Vergara Newton,
October 2017
1. Peter Sloterdijk, Venir al mundo, venir al lenguaje. Lecciones de Frankfurt, Valencia, Pre-textos, 2006, p. 21.
2. Joseph Brodsky, Del dolor y la razón. Ensayos, Madrid, Siruela, 2015, p. 46.
