The Ritual Gaze (fragment)
By Mariano Rivera Velázquez
La pietra racchiude un misterio straordinario, un senso sacro.
(The stone contains an extraordinary mystery, a sacred sense)
Mexican artist Jorge Yázpik’s works take part in a very peculiar sense of gestation, in an immersion in the most esoteric, primitive, along with this the discovery that our vital process, sooner or later, flows into a silent and solitary place, fit to each individual, where the answers would have to come from the experience of being, above all, in an encounter. And Yázpik has dreamt, remembered, designed, faced, has given the stone birth in that sacred uterus where the encounter takes place.
Sculpture by Jorge Yázpik
Thu, Dec 4, 7pm
Prol. Valle Alcocer 32
Valle del Maíz
I see temples carved in the live rock that Jorge Yázpik creates and shares, affects and rescinds, influences and divides, reveals and hides. When one approaches visually and mentally the sculptures of Yázpik (because one has to approach them visually and mentally), a sudden loss of scale, regarding one’s own bodily dimension, is unchained, leading us, not like Alice through a paradoxical world, but through the world of Beckett, waiting for Godot. And one finds himself alone, traveling in an austere, dispossessed, essential space, with the logic of a stony incontrovertible syllogism, where each spatial subdivision, joint, overlapping, inequality, flight of stairs, skylight, intersection and connection has been relentlessly thought, with the tessiture of an obsession, like the testament of a search that comprises the whole being.
In that apparent spatial desolation, inside a volcanic rock, which entails all the tonalities of gray, a diapason vibrating between black and white, another disconcerting perceptive ambiguity is produced: the archaic, cyclopean past, immemorial of a lost civilization, or perhaps forgotten, melds with a contemporary “feel of the space,” an algebraic sum that is transformed in the all-enveloping circumstantial of the voyeur voyageur, the observing traveler, whom I prefer to call the traveling clairvoyant.
Due to the spatial concept, which invokes evoking, that lays in the search for the anima and the numen that animates it, the sculptures of Yázpik are architectonic. They are debtor and coincident, in an aesthetic starting point, from Gunther Gerzso and Gonzalo Fonseca, Marcelo Bonevardi and from the material and conceptual depuration of Eduardo Chillida and, surprisingly, from the rupture with pictorial bidimensionality of Lucio Fontana, that one to which the always enigmatic Gerzso also arrived through the trompe l’oeil, with an unrivaled visual mastery. Regarding the sacred sense of matter, perhaps Isamu Noguchi would be the paradigm of the second half of the 20th Century, and Yázpik fortunately coincides with him. And regarding enigmas, we can also point towards the monolithic altar of Machu Pichu, the Intihuatana, the Inca solar gnomon; and the initiating temples of the Caballeros Águila and Tigre de Malinalco, dug out in the mother rock of the mountainous area, as the stony materialization of the Aztec dream. An artist must fuel himself from what he has within.
And so, wrapped by the space, revealed by light and shadow, by the void and the fullness, dreamt and, therefore, foreboded, where the fourth (temporal) dimension is subject and object, we can continue the journey, which in the works of Jorge Yázpik is the message and the medium, matter and field, reason and sense, memory and feeling, nostalgia and the waiting.
MuVarte will inaugurate the exhibition of Jorge Yazpik, on Thursday, December 4 at 7pm, 2014 and will continue until March 2015.