It could be that the reach of our capacity to understand the vastness was so close that we began to be able to understand that impossible combination between what we perceive and what it arouses in each one. That journey is what configures our way out of lethargy and strives to consider the precise way to substantiate thought in matter and matter in thought again. Javier Torices thinks about painting. Their cares have a painted image and their sensations the non-existent word only possible in the line and a kind of ejaculation of color, matter and study of the harmonized gesture on the surface of the canvas to be more than it is.
There will be those who think that the work of Javier Torices, so early being solid in the most prominent places where painting is weighted from the bottom and the form, is the work of an accomplished painter who seeks to scratch one more rung to that escalation that makes representation an ongoing challenge. A place that few, very few, have come to because of its rigor and approach to a reality so vivid that reality itself falls silent. There will be those who think this and will do well, since the nonsense will not be around but rather will be closer to achieving, in part, the intentions that Javier Torices haunts.
And is that in his painting there is a “something” that transcends. A non-existent word that has nothing to do with what we may have seen. A reality that is not reality caught or caught, simulated or used. His painting is created from knowledge; from the knowledge of the painter who has drank from the sources, in equal parts, of his now and his feelings on the one hand and the corners of the gesture in brushes supporting mixtures on the palette that end up being conjugated in visual effects on the canvas, on the other. Because Torices stimulates the gaze, makes it work and commits itself from that exercise to the rhythms of creative doing without falling into stereotypes of deceptive invoice. The artist undergoes in each work a ceremony that, so often repeated, is never the same. Torices does not allow himself to paint with his mind set elsewhere than what he paints and the aesthetic need for this to be possible. Aesthetics that renews and celebrates in each encounter with drawing and colors, with the uncertain volume –in this case of water- and the infinite density of its fluidity. An at times opaque, deep, dark or ethereal fluidity that seems to bring the artist into his hands and, in truth, is painting brought from within the work to that magnetic surface producing a calm vertigo.
But going back to the most immediate thoughts that these works that Javier Torices now presents could provoke, we will have to clarify that they are not paintings by an accomplished painter who seeks the reality of almost posed encounters. No. It is not just that. Javier has learned to name reality from his brushes with the success of his own voice, unmistakable. And it does it without lukewarmness or softness. In these works of sea and water, of slippery rocks veiled by the light of perpetual humidity, of hoarse depth or transparencies of clean water, Torices traces in them, not the fortuitous portrait of their encounter, but the forms that of the sea are he same while watching and thinking. For Javier, in his painting, the sea is powerful and loving, the companion sea and possessor of tides that he draws and bellows with calm and tempest. He knows it that way and he knows that the painting will never be told or sung, that each composition is a now, that the calligraphy of each brushstroke is a chord linked to the composition, in the way in which the artist says and names what is explained to himself and manifests to the embrace of his reasons. Because theirs are thoughtful reasons, reasons about the deep sea and fluid silver soils, of skies made of sky, water of water conversing in color and painting conversed, measuring distances; letting itself be counted by the sea, holding still the agitated water witnessing its eyes and its body, its body being the sea from the sky, the earth or the silence of its interior with a strange sound and weightless floating light that Javier paints as if the surface of its powerful light was that.
Now more than ever, that of Torices, is not a novel optics, nor as if it were appeared, but contemporary; that the sea has been the same since the night of time and in painting only its patina changes. Javier Torices paints the sea and the water and its borders as one who knows the principle that reality treasures revealed in the thought that he places, at times, in the place of the incomprehensible, of the most intense reality that, so close at hand, overwhelms .
In this way, before such an aspect, we would have to take into account two ranges of distinction when knowing why Javier Torices’s painting captures and forever exerts a singular attraction on the viewer in such a serene and intense way at the same time. . A place in time where our sense of touch plays with the present and that atavistic principle that the sea always
