Manuel Olivares - contemporary painter

MANUEL OLIVARES

NAPLES 1967

MANUEL OLIVARES - Artist included in the list of artists Professionals for the award of construction works of art quests (GC 150 of April 5, 2006) VI Department of Planning Policy and Planning of the Territory - ROME CAPITAL PROGRAMS UO8- COMPLEX

1. The painting of Manuel Olivares refuses any a priori scheme is not

figuration, is not abstract; It is quite detailed vision and

sometimes part of a visionary microcosm that obeys rules well

precise. If today's concept of beauty has migrated from the canvases to the sinuous lines

of organic architecture, if we find the beauty into the furnishing objects

or in extreme design or the most exclusive car, it means

the artist who is sensitive to the world around him has to capture

this rhythm to create a new fusion between object and space.

2. Idea and matter meet remaining perfectly balanced,

crystallized in pure forms painted with a virtuosity that is revealed

scrutinizing the work of a brush that extends the oil painting wonder

light and shadow, returning forms and concepts: reinventing or

transfiguring them completely. It can be said that his painting it is

conceptual painting and that because it obeys primarily to an order that is mental: the rhythm does not stop and segregates forms but filters and intensifies life. The

conceptual side is not an end in itself, is not a statement on rhetoric

deterioration of art subjects and the precariousness of his events

historical, rather it is the search for a unity of reality not as

rational procedure but as emotional feeling of reality

same.

3. Manuel Olivares transformation is in everything, even in the objects

most mundane, from the tire of a car to supersantos ball, from a

plastic chair in an iron railing is a meditation on life

of things or their slow wear, on the obscure soul identity

continuing inside of things even when their existence is no longer

helpful.

Leaving from real locations: an Italy sunny, empty and

metaphysics and cutting glimpses of Fascist architecture emptied from

rhetoric and monumentality, the artist increases the images one

inside the other, like in a movie, to narrate the astonishing beauty

of this landscape, credible in the emotions just lapped.

The eye

disassembles and reassembles the vision always taking account of the background,

of the three-dimensionality of the image, of its depth of field.

4. His painting has no debt with photography, which happens to

majority of figurative and neo-pop painting, that because it is led by

perfect architecture of the parties: the center there is always the reality that

It can not be fiction and not even caption, which can not be flattened

by photo lens.

It 's as if most of the images

that interest and surprise him did not come from art or

advertising or from television, like most of the artists

working in our time, but a reality experienced through

the love for the cinema, the cinema as absolute metaphysics of the world,

cinema as an illusion, as the infinite interweaving of forms and ghosts.

5. The nearly black / white images in fact ensures a minimalism that

It does not lead to the purity of the recognizable symbolic form, but

rather type approval of the different, eccentric forms below

look of a single speech of light, so stripped, uniform and

dogged in revealing and veiling the shades of gray, and the

the same time, where each color - appropriately lit -

It borders the gray and fades in it

The black and white: white as

stratified ice: solidification, crystallization, freeze,

surface melting ... layer upon layer to define his subject,

in the folds and bends. Black as shadow, as a line of

demarcation, as the border between definite and indefinite.

6. In the layers of the vision is total immersion. The enlarged detail

of the back of a plastic chair becomes monumental, abstract,

equally geometrical as a building that stands out against the sky:

everything in the same space and at the same time, in a shallow depth in

which everything is materialized and appears.

7. A plastic chair, a shutter, a car body, they are

dissolved objects and then reassembled as you can recompose in

curvature of an image under glass or in the illusory volume

deformation of a lens, according to an infinite combinatorial logic,

a transformation from one stage to another, from one form to

allude to an unlimited mouldability.

The most infinite and unfathomable of film directors

today and always, Kubrick, at the end of the trip into the blackest

depths of space, he did find - in 2001 Odyssey

in space - a ricurvatura image, an interior inside

the inside "a glass that was breaking" and then a fetus that was reborn from

Circular egg-shaped image.

8. The uniqueness of his work is all in this hallucinatory vision, in

power of objects and their interactions, the ability to grasp

with the look the lines of force that unite them and the magnetic fields

attracting and rejecting them, the ineffable bond that intertwines and generates

energy, the secret and unexplained wave that comes from the states of

tension and balance of the representation

- In this deformation

of the vision that curve and dilates the point of view in a suspended gravity -

the arrangement of objects and forms reaches the universal in

specifically: the timelessness of the appropriate form. . The strange objectivity

to grasp the of the eternal movement. Of what is. The vortex, the trail, the

curvature, the thrill, or immobility in the light that is never motionless

because the light, by its nature, is known, changes at every instant.

Maya Pacifico