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The unique complementarity of the works exhibited here is very stimulating because, based on diametrically opposed views and techniques, both artist present highly aesthetic and technically brilliant works that, in turn, force us to a second reading that reveals the deconstruction task that subjects and words were subjected to.
Freeing objects from their function and introducing them into the realm of art, is something that our culture has learned to understand, and this is used as a resource by many artists. But the originality of Pablo Lehmann´s work is that he reverses the process when he disrupts the written word depriving it, letter by letter, of the medium on which it was printed.
This form of transparentation objectifies these writings, transmuting texts into textures, and these “textiles” into works of art whose poetic presence immediately captivates us.
In turn, through a closer look, poetics reveals itself as prhilosophy. Then we understand that nothingness that Lehmann carefully digs into the interstices of each letter changes its essence, the same way that a hole dug into a piece of gold transforms it into a ring. A true identity bypass that subordinates language to the shapes that then become the raw material from which these works of art are built.
In short, it could be said that, by insisting on breaking away and experimenting, Pablo Lehmann has invented an “anticonceptual” art that neutralizes and domesticates the rational aspects of the various texts, revealing the energy and power of the resulting aesthetics.
Hugo F. Romero 2010