| Looking more closely, as we move closer to this work
which constitutes a montage of several lithographic prints, we will probably
agree that we see several superimposed layers, rather than simply two.
The flowing rhythm that is the most continuous, in this
work, is (as I said already) "built" by a pretty continuous "addition"
or "juxtaposition" of greyish text fragments that appear as if cut
out of a book, that is to say, of pages of a book, in the shape of
flowing algae, or of vividly moving fish, or even, at times, perhaps of
doves.
This rhythm is the basic one, of the work, I would say.
In painterly fashion, isolated forms that appear
like dark, greyish-brown water plants moving slightly in the current, are
placed "over" the grey flow of "cut-out" text.
They can form clusters. As these clusters occur and disappear
and reoccur again while we "read" the "frieze" from left to right (or from
right to left, depending on our specific cultural predisposition), we notice
that there is more "grey-white" space between them than between the elements
of the "text flow"
.
The fact that the individual elements of these clusters,
just as each cluster (as a combined "whole"), feature a quality suggestive
of "flow" makes me see in them an echo though not a reduplication of the
"text flowing along" in this work of art.
The "water-leaf" clusters (if I may provisionally refer
to them in this way) are reduplicated or echoed by just such clusters that
are presented in colors of lesser intensity. Rather than appearing as brown,
some tend towards "olive," others are almost grey.
The "text-filled" forms and the brown, respectively olive
or grey "water-leaf" forms, recurrent as they are, and separated by different
interspaces, constitute four layers. To my mind, the three "series" constitutes
by the "water-leaves" are like harmonic lines that play around the basic,
textual "line".
The "blocks" or "rectangles" are not the only "unexpected
accents" though they are the only accents that introduce a strong, very
noticeable "counter"-rhythm.
The human face shining through the diverse layers is another
"unexpected accent." Appearing "underneath" the "text flow", it is
of a strange, pensive beauty. It may be showing an expression of apprehension.
At the same time, I see in it the face of a female saint of liberty, a
republican angel, a madonna of clarity / determination / and revolutionary
theory that is unafraid to take the next step: action.
In the light of this (unproven! - unprovable?) intuition,
the text can be nothing but a continuous stream of historic documents demanding
freedom, social justice, respect for the dignity of all human beings, respect
for nature, its seas mountains plains its plants and animals.
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