TECHNIQUE REFLEXISTA

The Reflexismo, that thus was baptized by Backs water, gains the name of True Painting when turning the chromatic spot its main protagonist; but we need something more. Painting can be called op-art because the colors are clarified with fused and the spots are put under the envelope of the real light. We know another art that produces greater mystery, greater sensitive embriaguez, than those shining and tornasoladas nebulas that seems to vibrate like own suns? For his exposition, the artist leans in sustentantes surfaces - always metallic plates - from where tries to make bring forth the rich volume of the brightness. The operations to that it puts under laminae very are varied. Sometimes, it lines the plate, indicating luminous directions; others the goad in vibratile splashes; others, try to obtain revolving suns with the frotación of the disc...

But the color (she is the authentic protagonist here) harmonizes and hard reflected atenúalos, being able to perspectivar the brightness until reaching depth effects. Expert painter because the rank of its colors unifies and builds the framework for always those other I touch luminous, active of the brightness backs water afrima with this. And this important colorista presence is what it assigns to him to the universe of the True Painting. Seeing its work we discovered, as soon as we watched, a personality different from those other artists who lean in strange lights to the own essence of the pictorial body-art that is the chromatic spot. There are in its pictures no exhibited centers or forced manipulations of the light.

In its artistic maturity everything is simple and apparently easy, because it formulates a good arrangement of abstract images are the smooth resistance of the color and with the dominion of tenuous and veiled transparencies. Clear saying: in this frame of the plate it is where they emerge to bursts, the redentores brightness. Vivios litmuses that they announce in the work of Back water, two opartianos successes: the real light and the ocular movement. Let us explain now, following the course of its creations, the hallucinating and fantastic way that the painter offers us. It backs water in the beginning was direct to be pleased, like all the opartianos, in the troquelados bas-relief brightness. It used for it recorded maleables plates that to the being gave artisan work aspect of which it was not left contentment. So it looked for hard laminae, able to dismiss the lined brightness the being. It used to start off of a honeycomb of colored spots, almost compressed, on which it located a cluster of luminous points that dismissed rays to all directions.

If I were commentator given to the comparison she would say that this stage remembered that ' rayonismó of Larionov that tried to change the cubistas facets by rays shot from each form. But the proposal registers in another guideline.

In It backs water rays are not painted: they are obtained brilliant beams with the plotting brightness of the lined plate, reflected that invade all the pictorial field in glad star dawn. I think, by all it, that watched these primerizas works of Jose Anonio Ci'a well is somewhat hard, although enter within the modal line that opart of then demanded. Some of them, as soon as they develop the depth sense and they are judged like True Painting with images that slightly initiate a superposition of planes. More, in others, the stage of the luminous chromatic masses is noticed very well, so that the panel receives aspect of that distanced fulgor of the lightning that give three-dimensional dimension.

But the great finding of the painter resides in florescentes nebulas. Favor to the disc of frotación and the chromatic inked one, obtains Backs water that these clouds illuminate like stars who float in the space. The claroscuros, vanished and transparencies, warn to us that we are before forms worked like True Painting, of great beauty within the Op-Art experiment. We were present at then a esplendoroso universe, of untied spell. The masses are had in tremendous sidereal palpitación or breaking the cosmos, waking up therefore an abstract image of being able subyugante three-dimensional content.

Text: Tomás Martinez Blasco. Academic of the Real Academy of Beautiful Arts of San Fernando.