Juan Manuel Gaitán



The great contemporary architect Frank Gehry has spoken, not without surprise, about the metaphysics implicit in his architectural works, a term that arose in this case, not of philosophy, but of the spiritual and symbolic magnificence emerged from the aesthetic characteristics of the construction, the design, technique, materials, and philosophical theories of deconstruction, where they have different meanings to rational orthodoxy. This also looms veiledly at the origin of the fantasies and formal intentions of the pictorial works that Juan Gaitán has generically titled Geometries of Surrealism. Not in vain he studied some semesters of Architecture at the Javeriana University of Bogotá. In doing so, he discovered decades ago that architectural forms further fueled his imaginative intentions to develop what truly interested him: painting.

In the present works Gaitán investigates sensations arising from his very personal harmonies of color and unforeseen spatial approaches of controlled anarchy. These are imaginary planes that float between virtual spaces formed by vertical bands of color that frequently break the verticality and acquire unexpected angles. Other works refer us to the same intention through plans. In this way, inquire about the spatial sensations that make up his metaphysical staff, something that goes beyond the sensitive and physical-geometric vision founded in the West by the Greek Euclid. His art is open to the freedoms arising under the conscious or unconscious influence of new spatial and material visions suggested by science since the early twentieth century, after the discovery of previously unimagined behaviors of nature, materialized in the quantum equations and relativity. [/ column] [/ row]

This fact had already been detected by the painter Juan Gaitán in the different simultaneous views that had infested Dalí’s surrealist and metaphysical works , Magrite and De Chirico, with unexpected suggestions about the interpretation of gravity. “The geometry expressed in my works is not subject to anything,” says Gaitán, “and this is the reason why different vanishing points create unexpected tensions.” The painter also keeps a special memory of his encounters of the past with works by abstract and constructivist artists of the twentieth century, or by Colombians such as Fanny Sanín and Manolo Vellojín, reserving for himself the necessary distances and interpretations, and the use of new associations chromatic

But Juan Gaitán’s Surrealism Geometries have also invaded the field of object painting, developing new meanings to varied assemblies of materials coated with informal chromatism between abstract planes, or cylindrical and cubic lamps with the added value of art. These works keep the stealth of the use of RGB digital light bands, technology that Gaitán already uses at the edges of some paintings with different light palettes managed to control that, when interacting with the architectural and psychological environments, turn his work into kinetic work . It gives rise, in this way, to the open field of the conceptual treatment of digital light in his works, something that he announces to be vital in the subsequent work of this great artist.

OCTAVIO MENDOZA. Bogotá, october 26 / 2018