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Symbolism as landscape …
Francisco Merello invites us to see the forms that in the apparent, defines its limits and acquires its form, which is like the real of the unusual. In his painting live forms of the real that open their volumes with the intention of being the other side of the visible, the detail of a point of view, apparently simple, but that ends up being the key to an art movement that is supported in symbolism.
The vision is here a variation of the open grain. The contours of the figures acquire a tonal dimension thanks to a direction of light similar to the typical contrasts of the picture and the arabesque, in which the movement generates light loads by substitution. The idea of ​​the human body in movement is a landscape that is renewed under the action of the imaginary. The visual order approaches the basic design, enriching it with a drawing of great precision and purity. There is in his works a manipulation of reality, with a feature of syncretism, which gives birth to the pictorial particularity of his art.
Merello’s painting is also design, the perception of his work warns us at the same time, that the syntax has been renewed to acquire the suggested equilibria in the compositions. The induced effect is a “we are also like that”. The tonal sensitivity is in this painting what leads the apparent figures to a value of transparency. There is a determined psychological organization, as in a certain theory of Gestalt, from which, visually acquired “states” of what we are appear. This makes us think that for Merello there is above all a grammar that by itself generates automatisms capable of giving shape to other symbolisms, a visual order close to allegory. Contour, tone and color, we find the basic elements on which it works and that give the whole its visual unity. The fluidity of the line is a rigorous technique, the whole allows us to see tonal sketches of a world that is our own and recognizable.
The chromatic scheme shows us colorations that are overlaps, duplications that allow depth and are at the same time complement of color, which gives the figures their quality. the chromatic scheme shows us a certain parallelism of yellows and magentas, inversions of the visual scale, which creates clashes at intervals, giving the figures an over-excitement, equal to waves that repeat themselves in their lungitude.
The combination is a grammatical viewer.
The combination is comparatively what the poetic license. The formal similarities are reproductions of renewed visions. The fuidez comes from a tonal vision, the viewfinder in movement describes as a lens altered by light, causing the photon to move forming lines from fixed points. The known geography and landscape can be altered, in a new way of being, thanks to imaginary projections. The Alhambra is an indication for the line, gardens that surround the structure are other ways of being, of the same architecture. What can be, gives the gesture of a model, the hidden hybrid, suggested as a phallic column or as that system of armor and belts that fond of the Kahlo. The golfer is a variation of himself, a wave that repeats itself, suggesting the body go as the ball towards its own realization. Movement multiplies us, and as in musical variation, it goes and comes generating speed and permamency of meaning. The woman is a being who only discovers herself in the measure in which the scale finds the arbitrary of the supposed. The symbolisms only disguise the complexity of a being that we are in some way. Painting of multiple visual facets, manages to give us the sensation of the simultaneous as the fundamental basis of the paste and collage. (sic)
From one painting to another, the topics are baffling, not without leaving open the impression that the subject has been abandoned in some way, although we can not help but be surprised to see the motifs of a painting as a detail that avoids falling in the sense, in replacement maybe from a convention of light.
Merello uses fantasy, giving us the impression that this fragility of reality is nothing more than an ancient form that had the known. The known becomes again the subject of its own variation and thus to an infinity of possibilities of the iconic sign,
full of profusion, profusion that allows the design to find a balance and rest in the midst of vertigo

Heriberto Lopez
Colombian writer
Brussels, 2006 Belgium.

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