This latest turn in the artistic output of Mr Piru suggests more questions be asked of it than definitive interpretations be made, though I will venture an interpretation, however dangerous an enterprise that might be, at the end of this article.
In the art of portraiture in the past it always had to be asked what the person portrayed was trying to invoke through having an image made public. Often the answer was that the portrait was a much altered, bettered, image of the sitter designed to advertise power and wealth, social position, over a truthful rendition of the character portrayed.
Much of the portraiture of the late nineteenth and early twentieth centuries, to the present day, in fact, signaled a radical departure from a display of material power and wealth. It marked a shift in priorities towards a more realistic rendition of the sitter and of a search for a psychological depth of character that could communicate to the viewer the feelings and emotional state of the sitter at the moment of the sitting.
This timescale also saw the introduction of the self portrait as an end in itself rather than an academic exercise undertaken because finances could not be stretched to professional models. Portraits, particularly self portraits, became the image of how the sitter saw himself rather than how he wanted to be seen by others.
The self portrait was the artist looking into himself, a kind of auto analysis, psychoanalysis, and the self portrait became analyzed and considered as serious modern art that opened a door into the artist’s state of mind and thence into the truth at the heart of his work and thought processes.
Great self portraits often function very successfully at this level, think Van Gogh, but lesser works saw, and continue to see, the artists opening a door only to discover that the only thing they were looking up was their very own anuses. The results of this anal obsession or exploration, no pardon to Freud who was a fraud, are, without a doubt, feces, excrement. Shit.
As has been suggested before, there are noble exceptions, and a notable case is the work here presented by Mr Piru.
So to my analysis which, dear reader, through lack of evidence to the contrary, assumes that this masterpiece of portraiture is a self portrait and, if the contrary is true, please present me to the genius you commissioned to carry out this delicate task, she who you were posed in front of over that beer washed bar. How wet was her t-shirt.
My train of thought has been sidetracked here, but please bear with me because the truth behind this work is worth the wait and intellectual strain.
In the world of modern art drugs are often found to be a liberating force behind the inspiration evident in works of prime importance over the last forty years and Mr Piru’s Summertime 1 is just such a work.
To which drug, or mixture of drugs can we attribute the transcendental force of this modern masterpiece?
LSD should produce really intricate, highly colourful, icon sized work with a display of tremendous concentration over an extended period of time, so we can discount acid. Marijuana in all its forms has a tendency to produce larger scale works, lazier and less controlled. It often produces works with a superficial appearance of having been created under the influence of LSD, but more Pop or cartoon, like nineteen sixties record covers. Heroin takes the artist off in the direction of graffiti because the energy level is absent for any effort above shaking up a can of spray-paint. Amphetamines never lead to anything creative because the taker is unable to stop still for long enough to leave a mark and cocaine tends to indicate that the artist has already hit the big time, numerous gallery shows, and has no time left for art, is way passed his best.
I tend, therefore, to think that we need to look in another direction for the inspiration behind Summertime 1.
I would venture to suggest that the artist has been taking a drug widely known in artistic circles as "girl" over a period of various months. Taking the dangerously addictive girl means Mr Piru probably would not have had time to get involved with large scale canvases, but since this work is almost a miniature, then I would risk my reputation on the fact that the possible root cause of this highly successful expansion into the visual arts is girl. Girl and coffee, the lack of or overabundance of, also make for some interesting, inspirational moments of wakefulness at night and this is a dark, deeply sad night time self portrait indicative of a shit summer.
However, if we all turned our suicidal tendencies into art our only problem would become who we could con into buying them all and how to spend the resultant millions.
In the art of Mr Piru there is ample evidence that he has uncovered the key to this universal truth and the title is Summertime 1 which suggests to me that the paintbox has been got out from under the bed more than once. I look forward to writing up reviews of future exhibitions but will shortly have to leave the matter because, much to my disappointment, I have an article to write for next week’s Babelia (El Pais).
So what exactly is being sold here, then? What is the fundamental message, the fundamental learning we should all be able to draw from this work? I think I am right on target here.
It is this. This is the key.-
A BIT OF EAR IF YOU MUST, BUT, IF THE RAZOR IS TOO BLUNT TO SHAVE WITH, THEN, FOR FUCK’S SAKE, DO NOT EVEN THINK ABOUT CUTTING YOUR WRISTS.
Mi lengua es viperina, al que le pique que se aguante. Catalogo los artículos según los cuatro sabores que podemos percibir:
- Amargo, con reflexiones basadas en temas de actualidad.
- Ácido, como el humor.
- Salado, la vida cotidiana como fuente de inspiración.
- Dulce, relatos y diferentes escritos.
Prueba y repite de lo que te guste.¡Paga Piru!
1 comentarios:
This latest turn in the artistic output of Mr Piru suggests more questions be asked of it than definitive interpretations be made, though I will venture an interpretation, however dangerous an enterprise that might be, at the end of this article.
In the art of portraiture in the past it always had to be asked what the person portrayed was trying to invoke through having an image made public. Often the answer was that the portrait was a much altered, bettered, image of the sitter designed to advertise power and wealth, social position, over a truthful rendition of the character portrayed.
Much of the portraiture of the late nineteenth and early twentieth centuries, to the present day, in fact, signaled a radical departure from a display of material power and wealth. It marked a shift in priorities towards a more realistic rendition of the sitter and of a search for a psychological depth of character that could communicate to the viewer the feelings and emotional state of the sitter at the moment of the sitting.
This timescale also saw the introduction of the self portrait as an end in itself rather than an academic exercise undertaken because finances could not be stretched to professional models. Portraits, particularly self portraits, became the image of how the sitter saw himself rather than how he wanted to be seen by others.
The self portrait was the artist looking into himself, a kind of auto analysis, psychoanalysis, and the self portrait became analyzed and considered as serious modern art that opened a door into the artist’s state of mind and thence into the truth at the heart of his work and thought processes.
Great self portraits often function very successfully at this level, think Van Gogh, but lesser works saw, and continue to see, the artists opening a door only to discover that the only thing they were looking up was their very own anuses. The results of this anal obsession or exploration, no pardon to Freud who was a fraud, are, without a doubt, feces, excrement. Shit.
As has been suggested before, there are noble exceptions, and a notable case is the work here presented by Mr Piru.
So to my analysis which, dear reader, through lack of evidence to the contrary, assumes that this masterpiece of portraiture is a self portrait and, if the contrary is true, please present me to the genius you commissioned to carry out this delicate task, she who you were posed in front of over that beer washed bar. How wet was her t-shirt.
My train of thought has been sidetracked here, but please bear with me because the truth behind this work is worth the wait and intellectual strain.
In the world of modern art drugs are often found to be a liberating force behind the inspiration evident in works of prime importance over the last forty years and Mr Piru’s Summertime 1 is just such a work.
To which drug, or mixture of drugs can we attribute the transcendental force of this modern masterpiece?
LSD should produce really intricate, highly colourful, icon sized work with a display of tremendous concentration over an extended period of time, so we can discount acid. Marijuana in all its forms has a tendency to produce larger scale works, lazier and less controlled. It often produces works with a superficial appearance of having been created under the influence of LSD, but more Pop or cartoon, like nineteen sixties record covers. Heroin takes the artist off in the direction of graffiti because the energy level is absent for any effort above shaking up a can of spray-paint. Amphetamines never lead to anything creative because the taker is unable to stop still for long enough to leave a mark and cocaine tends to indicate that the artist has already hit the big time, numerous gallery shows, and has no time left for art, is way passed his best.
I tend, therefore, to think that we need to look in another direction for the inspiration behind Summertime 1.
I would venture to suggest that the artist has been taking a drug widely known in artistic circles as "girl" over a period of various months. Taking the dangerously addictive girl means Mr Piru probably would not have had time to get involved with large scale canvases, but since this work is almost a miniature, then I would risk my reputation on the fact that the possible root cause of this highly successful expansion into the visual arts is girl. Girl and coffee, the lack of or overabundance of, also make for some interesting, inspirational moments of wakefulness at night and this is a dark, deeply sad night time self portrait indicative of a shit summer.
However, if we all turned our suicidal tendencies into art our only problem would become who we could con into buying them all and how to spend the resultant millions.
In the art of Mr Piru there is ample evidence that he has uncovered the key to this universal truth and the title is Summertime 1 which suggests to me that the paintbox has been got out from under the bed more than once. I look forward to writing up reviews of future exhibitions but will shortly have to leave the matter because, much to my disappointment, I have an article to write for next week’s Babelia (El Pais).
So what exactly is being sold here, then? What is the fundamental message, the fundamental learning we should all be able to draw from this work? I think I am right on target here.
It is this. This is the key.-
A BIT OF EAR IF YOU MUST, BUT, IF THE RAZOR IS TOO BLUNT TO SHAVE WITH, THEN, FOR FUCK’S SAKE, DO NOT EVEN THINK ABOUT CUTTING YOUR WRISTS.
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