From the dawn of art, painters have extracted their colors from their surrounding world: from the ashes of the bonfire, from insects, from the soil, from plants and seeds, from everything hiding some precious pigment. The discovery of new sources for new colors eventually brought changes to our perception. The enrichment of the chromatic palette affected and transformed art, as did technical innovations. It is a known fact, for example, that the invention of paint tubes in 1841 allowed for the use of brighter, more intense colors, while it also made possible to paint outdoors. No one better than the Impressionists to take advantage of these new circumstances.
The search for new colors, and the possibilities that they offer to artists, is part of Juan José Cambre’s meticulous and perfectionist output. In the case of his recent paintings,...colors do not come about as a result of mixtures or combinations, but rather from overlays. It is a sort of elementary and, simultaneously, mathematical game: the pieces are created from vertical stripes that overlap and generate new hues. After a while, you find out that you are looking at a color you are unable to determine or that its vibration is unknown to you. It is a question of colors that are complex, weaved, and made of overlapping layers on top of one another. New colors in the world for paintings that believe in abundance and rejoice with it. If, according to Deleuze, the philosopher is first and foremost a creator of concepts, Cambre seems to define the painter’s role as the creator of colors, as well as of new relationships between them.
Entrada actualizada el el 10 oct de 2019
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