Exhibition "Desde dos angulos."
Not only from two angles, but from multiple and surprising perspectives, Jesus Gomez proposes that we contemplate his exhibition in which, without abandoning the undeniable prominence he conferred on light in his previous exhibition, he enriches it again with the special patina of each season of the year, with new landscapes that are like windows through which we look out at places as different and distant as Athens, Buenos Aires, Cozumel, Rome, Venice, Amsterdam, or Paris, always unified by the painter's retina, faithful and transgressive at the same time. In it, only the magic and mystery that emanates from art can make them coexist in the placidity of the water of the river or the sea – only altered by the dolphins that play in the Plaza de San Roque – with another type of reality, no less authentic because it is subjective, in which they are distorted without breaking them. verticalities as diverse as local palm trees, stately towers, sentinel lanterns, ancient columns or in which the geometry of the train tracks is transgressed, lost in the distance, under the trembling undauntedness of the lampposts. All these characteristic features of the painter seem to be summarized in places as close to us as the Sewer Wheel broken under the secular fall of the same water that perhaps in 2024 will flow into the Sea of San Roque, or the Cathedral Tower surrounded by rooftops in the sun and shadow of a golden Murcian winter sunset. And always those two angles, the one that recreates and the one that violates reality, making his own the Pirandelian phrase of "That's how it is if that's how it seems to you", as suggestive as the strokes, the light and the spirit of his oil paintings.
María José Gómez.
Exhibition "Balcones con vistas."
Alice Rawsthorn, director of the Design Museum in London, suggested that art occupies a fundamental place in people's lives, and has a sometimes healing, healing and salvific effect on them, keeping them away from trifles and problems; modifying, of course, their perceptions and their attitudes. Artists, art lovers, know how to navigate between mirages and false appearances. They anticipate the implications of change before everyone else. Yes, artists observe the world from unprejudiced points of view and, therefore, they can establish connections that the rest of us mortals miss. Perhaps Jesús could have titled this exhibition Views from Unease, because, as the painter himself tells us, many works on display are made to recover that space of freedom that the time of pandemic denied us
...Ah! the windows and balconies, those terraces that still allowed us to feel free and close. Yes, maybe that's why the artist has titled this collection "Balconies with a view". Paintings, paintings, that synthesize well Jesús Gómez's interest in leaving his emotions imprinted on the canvas, and whose intention, not trivial on the other hand, is to share with the viewer an experience, the deep feeling of a specific moment of his existence, of something seen, perceived by him and that he proposes to be shared by us. This exhibition allows us to intuit some important references in the painter's career: the colourful, dreamlike, abstract forms of Sonia and Robert Delaunay; Duchamp's Futurist movement, honoured in "Here There Is No Second", one of the paintings in the exhibition; German expressionism, impossible to ignore the films of Wiene and Murnau; or the influences of the Murcian painting tradition, those mysterious greys of Garay;
Trends, models, aesthetic approaches, which could be understood as antagonistic: Futurism, Expressionism, Abstraction, Figuration... Landscapes. Reflexes. But no, these are not literal recreations; but of excuses. Excuses to build a chord capable of integrating disparate and apparently contradictory processes. As for these images, these landscapes, if I had the audacity to dare, I would point out that it could always, almost invariably, be a single landscape that appears and disappears in the painter's work; although they are, in reality, these images, the result of a long journey: New York, Cuba, different European cities... Murcia, Mazarrón... your own city. The water by the sea, the Murcian coast, the changing dunes, the lands surrounding the orchards, the cities visited, the houses of each of the villages... A sentimental territory, a universe of its own. A set of works, a symphony of strokes and colors that, like an almost musical
As an atmosphere charged with movement and suggestions, it operates on two distinct levels; In the first place, in what we might call the world outside the artist, the pictorial motif, and in the second place in what concerns the painter's own state of mind. Views on the landscape. An argument chosen by the painter to narrate his perceptions of the changes that take place in light, in form, in color, due to the subjection of nature, to the flow of air, to the passage of time. These paintings, these paintings are nothing but a reaffirmation of the will to create, a declared love of painting; An effort that always manages to overcome the effort involved in the act of artistic creation, the act of overflowing our own limits to finally be exposed to the elements. Pedro Manzano