JAIRO ROBINSON

(August 25 - September 26, 2011)

JPEG - 550.3 kb
C.20.11
Acrylic on canvas, 100 x 100 cm., 2011
C.20.11 C.22.11 C.23.11 C.18.11 C.21.11 C.03.11

The Universe and Nature, with their infinite variety of shapes, encompass an extraordinary capacity for geometric creation and limitless visual possibilities. Points, lines, and plane, the idealization of orthogonal forms, gave rise to Euclidean geometry, which offers the interpretation of order and measurement through figures based on everyday bodies. This is an idealization of an underlying hidden pattern, and this is what Jairo Robinson shows us and depicts in his works. He opens a portal (a front door or gate) through which we spy certain formal aspects that help to build reality, through a powerful poetics of the perfect, orderly, imposed, and standardized against a background that exploits the pure potential of abstraction. The way in which mathematical and geometric concepts compose or form reality is not obvious to us. An understanding could be suggested in which reality’s structure depends upon geometric shapes, which in turn are defined through numbers, themselves expressions of energy. Pythagoras emphasized this in the sixth century B.C., on discovering that everything boils down to numbers: numbers are units, units with magnitude, and as such, they do not necessarily exclude matter. Pythagoras made of the number the universal principle par excellence. Similar reasoning led Plato, when he founded the Academy, to place an inscription at the door that read: “Let no one ignorant of geometry enter here.” Don Juan Matus showed Carlos Castañeda that the world we see and inhabit every day is a fixed consensus, or rather, fixed at a single point or a given position of fixed perception, which he called the “assemblage point,” the reason for which we see and experience reality as we do. But when that point, knot, or perception point moves or changes position, reality changes and gives way to another, fluid, dynamic, with forms or flows of energy. That numerical/geometric basis of which we speak is also understood in terms of the proportion of the constituent elements. Thus, one of the keys is the concept of limit or imposition or even “Irrupción” (“Irruption”), the term chosen and used by Robinson, as that which introduces order or measurement into the undefined or indeterminate. The cosmos is thus formed by putting limits on the limitless. It is like the packing factor or atomic arrangement of crystallized minerals, providing a relationship between shape, color, length, and size. An endless creation and recreation of new shapes and worlds. Degrees of interiorization or internal complexity of matter. Using certain patterns and ratios, Robinson composes his works using perpendicular converging lines, such that when they cross, none of them is inclined in relation to another, thus creating the powerful figure of the square. The square is assumed as the basic shape, based on which an infinity of other shapes in a plane are constructed. It is the simplest of shapes due to its standardization, straightforwardness, and orthagonality. The square is made up of vertical and horizontal sides, which provide with a basic reference point for spatial location. Using it, it is possible to construct and infer other geometric shapes, both symmetrical and asymmetrical, which may feature variable, gestural, or even extremely irregular characteristics. It is the former (symmetrical) that Robinson uses or limits himself to. The square is a regular polygon with four sides of equal length, situated at right angles. The square multiplies on the surface of the plane or canvas, amplifying and intensifying, creating overlapping grids or patterns that create intensity and movement of differing emphasis on the surface. The black shadow and its concentration are the material gradation or process of descent or material concretization, material structuring, based on archetypal mathematical orders or patterns, models of light, shadow, and darkness. The tenuous point of the horizon grows, becoming concentrated or intensified, and ends up threatening to consume everything. This is the basic geometry of the universe, the structural fabric of everything: energy expresses itself mathematically or geometrically. It is like a grid or template for the universe, a dynamic mathematics and geometry that shows not only the quantities but the qualities and relationships of things, of numbers. In this way, space is infused or fitted out with quality. One point and another, one space and the next are not the same. This numerical geometric pattern displays the way in which energy flows and manifests itself. What is transmitted to us is that there is a basic energy, and that its development is like fields of quantification with regard to degrees of internal structural complexity and density. There is a stratified structure. And in the background, the depths of the irrational, the indeterminate: pure form, pure possibility. This substratum is a reality of eternal generation, it is unity above all accidents and divergences. It is, like art, the path or Irruption of that which is always possible and open-ended, of creation and recreation, the flowing and re-flowing of our minds and existences, conceiving, experiencing, and recreating the universe.