from the series "The prescription of love", shown in the exhibition
of the same name at Galería Exito Mundial, Santiago, Chile. March, 2018.
“Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain”Aldous Huxley, Gates of perception
The work of Gaspar Álvarez embraces the limits of the idea of "romantic", crystallized in his drawings on ceramic and paper. The entry at this dimension, towards the figure of a kiss, is not comprehended as the unique and original something that happens in every romantic relationship, and neither refers to the brief and passionate common delirium of a physical encounter, but it's presented as what it is: life itself, temporal caresses, where nothing is for ever and everything prescribes.
The image of "Romeo+Juliet" (1996), pulled out from a Japanese magazine, works as an evocation of a generational memory. But it's not about the white winged dress, the silver armor or the esthetics built behind the camera, but is the kiss what interest the autor. So, in perspective, it's clear the contrast between the original image and what Gaspar Álvarez decides to rescue and motion.
The shades of relationships fades until extinction. The scars remains, the missing, and the pleasure given by the nostalgia of what is gone. There are mirages of safeness that enlightens the protection of bondness. But the truth is we are drifted away. This drawings and what surrounds its motifs are gonna end crushed downhill, and none will remain built for ever. Gaspar Álvarez breaks the parts and shows us the end of the cicle. It's the hidden universal satisfaction that assume a sadness: a memory of the existence of something once builded with somebody else, that now remains empty.
After the letting go, ceramics and individuals end up broken over the surface. In time, someone will restore them: they'll become something new. And so on, the unions of space and time gets broken and rebuilt. The only certainty is that today, as things are, take the integrity of bonds projected into eternity for grated is an eagerness of past and virgin times.
On the other hand, the artist draws fruits, that sprouts as ghosts held by ceramic structures, fixed in their interiors and with the option of being cover or displayed by its container. First one assumes an erotic dimension that brings the associations between the shell and the fleshy inside, but in solitary, without its companions, something cold and distant appears, bringing independence and motion to the viewers eye.
Finally, if we go through the veil of intimacy presented by the artist, we can only accept and conclude the natural extinction of romances. Everything comes to and end and it is good, assuming our living condition: we flow, moving and settling, never satisfied and without regrets if we remain for ever in the same place.
“Everything builds and destroys/ so rapidly/ that I can't help but smile”Charly García, Parte de la religión