An artist's book is a canvas or tool that literally suffers on its pages obsession operator for providing a new reality to the establishment, by squeezing its pages, transform them, to invent what has already been invented for transcend. Guillermo Arreola has this obsession with destroying another dimension to launch a book of fashion or art. Take a series of films that show through illness and treated as the pages of a book and painted over them, hiding the putrefaction of body colors with punches and tear scarred to mark the paint. One of his artists' books do not remember your original print, the paper claim a catalog, on the front pages scrub colors, browns, blues and grays, are torn between scratches, stains almost organic. The page is still broken in half circle, the edge of the paper is smoked with charcoal and ink, is the gap in a wall, the wound in the paper. Each page is a work of art, the colors exploding in its pages are the colors Velázquez, the darkness of the interior in contrast to the diseased skin, pale from living among stone walls, and thick velvet clothing. Arreola painted with fingers, brushes and rags for wires crossed with scratches, color composition is a lawsuit, a raging waterfall. And book does not stand to be closed, is to open, to hang and have nightmares.
Guillermo Arreola, oil on catalog.
in artists such as Picasso and Bacon there was no possibility that a book of his library, which rolled on the floor and benches, is not transformed and altered his evidence color and sketches. To smear the oils and trace couche ideas on paper, redrawn the painting, leaving their footprints and intelligence of his strokes, simple tests do work. Books cogérselos are for, to rape, to make them shatter, to invent them again the world. A pretentious catalogs of contemporary artists that do not contain anything relevant, repeated ten times the same images out of focus (look sidewalk cigarette butt, unfinished, process documentation, etc., etc.), which also cost a Fortunately, should be annexed other suggestions frivolous use to justify their existence: seat, table to put hot objects (as suggested Anxo Varela), wedge to wedge a table.
William Kentridge, encyclopedia.
fable William Kentridge became an encyclopedia of the nineteenth century, striking in its leaves a series of black paper silhouettes. Figures parade on the letters: A man carries a stone, two slaves carried his mistress on a canopy, the horn of a phonograph walks on two legs, a mother shatters a shock to his son. It is a court of scraps, scarecrows, dancers, rebels and chargers of all kinds of objects that go into the abyss of the end of the pages in the will qua melted down, singing, hypnotized by their guide, a torso that stands in a couple crutches. The notebooks, the notebooks of sketches are a daily naked findings and frustrations become works when your pages are exhausted, are filled with comments, pictures, colors, and here, as in all art, the real talent comes out the painful limitations or withdrawal of the artist.
The thousand drawings by Tracy Emin, who are supposed to sketch his blankets embroidered, are a block of paper that can be charged and only containing one thousand scratches that might have decorated the high school bathrooms. The intervention which shows the expertise that comes from knowing the nature of the object. Books that hole, you dig, the termite vandals armed with a knife, where mutilation turns out to be the work does not transcend in order to support the art, knocked out, is the support of someone's laziness.
painters books are an invitation to meddling. In revenge, honor and learning are defaced, conquered. Those spots, that desperation to find the colors of Rembrandt painting over the pages, scared, because they just close it and forget it, get it mastered. View is to enter into an intimacy that happens during the creation, which is the time most loved and most hated.
Posted in Maze, Milenio Diario, on Saturday 12, 2011.
Guillermo Arreola, oil on catalog. 
Guillermo Arreola, oil on catalog. 
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