BELLORIN

Matter and Enjoyment
Cesar David Rincón

In showcasing the nocturnal landscapes of Bellorín's latest work, we salute the encounter of a great artist with himself, which is equivalent to say, he has surpassed his own plastic language. These new works form, as an ensemble, a leap in the construction and destruction of shapes and color, within a perfect plastic composition. From the depths of space itself, magical implications of shape and color emerge, returning as if from an anguishing internal search, within the necessary challenge posed by all authentic creation.
There is no complacency nor concession to established forms; it is this nonconformity before the shapeless new creation that has opened for Bellorín the possibilities of affirming himself in a language that we can properly call Bellorian. Every true contemporary creator attempts to be present himself, as a painter, in his works; located, obviously, within the plastic, real, obsessive and historical context of his country and time, which he assumes as the unique act of all possible affirmation.

Bellorín has taken the great leap to travel on a road not yet traveled, without those support elements that constantly surround the artist and which can be reproduced. We are referring to a pictorial adventure through the imaginary. There, the marvels of the new space vibrate, their colors and burgeoning shapes, the omnipresence of an imaginary halo that breathes the deepest breaths of elements arranged for the dream or the dance.

Savage and ardent, his multifaceted imagination builds a floating bridge out of matter, always assisted by the ensemble of original composition and color and chromatic surprise of the same shapes.

The nocturnal and its magic incite numerous changes; they tie and untie endless links, a metamorphosis that creates and destroys at the same time. Bellorín has released the ties, now he travels alone and he begins by opening the empires of the night, demonstrating that imagination is more important than knowledge. All the wisdom of his surreal affiliation had been assimilated into his previous works, always within the search for the terrestrial, the exuberant, the symbols of cosmic and fantastic eroticism, a fantastic fauna and flora, a meticulous disarticulation of human shape; he managed to create a plastic cosmogony of the American substance that links him to Lam, Matta and Tamayo. On the other hand, he manifested with great originality the experiences of Max Ernst, e.g., his hieratic or mutilated figures on metaphysical backgrounds or spaces. His taste for symbolic transcendence of the elements put him closer to Chiricó and maybe Magritte. Although all of that knowledge did not, at any point, obstruct the originality of his work and his unique and personal plastic seal that has characterized his language. Bellorín is in the apex of his maturity; his painting is the irreplaceable means to find himself. There is a holy challenge to the spirituality of the night, a light, a yellow of mysterious luminosity that speaks to us of a deep introspection of conscience and imagination.

The treatment of spiritualized matter, the ghosts of the night, and the intelligence takes the breath away from the incomprehensible and irrational, in a daring inversion where shape and color battle for their lives to register the internal truth of the artist in the plastic scenery of the painting.

We celebrate the culminating moment of a work of art that wisely comes from afar and is now projected even further away. We recognize a language that is self-sufficient, because everything is taking place in the night of the spirit, in the blood, in the lucidity and the anguish where conscience assumes its own contradiction and the contradictions of the world in which it wages its battle for creation and art.