{"id":6463,"date":"2022-09-05T10:14:56","date_gmt":"2022-09-05T08:14:56","guid":{"rendered":"https:\/\/jcarrero.com\/?page_id=6463"},"modified":"2022-09-05T11:16:11","modified_gmt":"2022-09-05T09:16:11","slug":"violin-music","status":"publish","type":"page","link":"https:\/\/jcarrero.com\/en\/violin-music\/","title":{"rendered":"Violin music"},"content":{"rendered":"

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Violin music<\/h4>\n

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\nRhythm, beat, harmony and metrics are some of the foundations that build music, but that also constitute a primary part of Enrique Jim\u00e9nez Carrero\u2019s work. His paintings have a paused rhythm, where feelings take place and are swapped, palpitations and memories are regularly repeated in measured intervals of time. His compositions are harmonious, balanced and proportionate, impregnated by a metric that is so well-structured that it seems to come right from the verses of a poem.<\/p>\n

This is the reason why music and painting are connected to each other here in an intimate way, as if they were heterogeneous organisms, to benefit and ennoble each other, to favor one another. Although the painter doesn\u2019t just choose any instrument at random, he prefers the intangible beauty of the scrubbed string, making it visible and available to be touched in a tight connection between the instrument and human anatomy. Two surfaces, the one made from fine wood and the one from soft skin, which intermingle, cross and complement each other.<\/p>\n

The painter\u2019s mute brushstrokes awake allusive sounds, dreams, longings and memories which are wrapped by the notes of the violin. Calming hues, pressing fingers, the bow rubbing the strings, the strings rubbing the skin\u2026 Various visions, different perspectives, the artist invites the spectator to surround the art piece, to listen to it, to feel it. There is dimensionality, texture, naturalness, schematism and audacity in a combination of techniques, chromatism and structures.<\/p>\n

And, once again, evocations to the universal world of art. Man Ray\u2019s and Ingres\u2019 shading, as well as the sounds of Vivaldi, Bach, Haydn, Mozart, Paganini or Schubert, stroll around the paintings. The memory of Mondrian is interlaced with the hydraulic floors he stepped on in his childhood, the ragged sheets of paper of his memory and the daily codes of the ideas of his creation.<\/p>\n

Fernando Talav\u00e1n Mor\u00edn<\/p>\n

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