Jesús de Haro. Murales del Paraninfo de la Universidad de Almería.

Eligio Quibén Moreno.

Si miramos con atención “dentro” del espacio de las arquitecturas, reencontramos, con nuestra percepción propia, la relación continuada a lo largo de la historia, entre el desarrollo del concepto de espacio y la organización social de la vida.

Paraninfo1

Experimentamos analíticamente  el  espacio, “paso a paso” con la luz que contiene en su interior toda la gama de colores, que nos da idea de la estructura que debe contener. Realmente, además de describirla como una señal luminosa que valora las tonalidades en los planos de nuestro espacio, que por medio de la cultura hemos aprendido que es el canon del espacio representativo tridimensional, atraviesa el ambiente en el que desplegamos nuestra acción vital,  activándolo con una extensa vibración. Y vemos que esta vibración está relacionada con la gama cromática contenida y con todas las relaciones que pueden establecerse entre los puntos que están próximos. Siguiendo más en esta línea significativa de la luz podemos proyectar el movimiento al conjunto del espacio,  dinamizado en todas las posibles direcciones, “espacializado” en circuitos cerrados, y en planos abstractos independientes.

Paraninfo2Así, nuestra experiencia empezaría por confirmar que el espacio social es rector y al mismo tiempo desencadenante del progreso artístico, porque los acontecimientos que cambian la realidad social modifican también el lenguaje y la identidad del arte. La concepción abstracta contemporánea, que un día trascendió el plano del cuadro ubicándose en la realidad, produjo la lógica abstracta del pensamiento, para impulsar la actividad del hombre, dinamizando sus funciones integradas en la vida pública.

Siguiendo aún el simbolismo de la luz ante nuestros ojos, vemos que esos circuitos forman parte de las transformaciones posibles que pueden transmitirse a la totalidad de los  “puntos” del espacio. Y de aquí, sí nace la idea de estructura que describíamos en el inicio,  al mirar “dentro” del espacio. Además, el modelo de actividad luminosa sirve primordialmente  en el conocimiento y en el arte.

Durante la trayectoria artística de Jesús de Haro el motivo principal de investigación se centra en la integración de los distintos reduccionismos abstractos que han ido surgiendo en la evolución de la pintura. Estos conocidos estilos forman parte de una unidad de observación más elemental y estructuralmente más profunda que no queda definida completamente con la descripción de los distintos cambios de tendencias estéticas.  Y desde el principio intuyó que detrás de estos diferentes movimientos de vanguardia había algunas razones que además de justificar el momento de su aparición apuntaban a un nuevo código pictórico que posibilitara su síntesis: el proyecto de  unir  dominios e identidades que habían ido evolucionando separados hasta  constituir una síntesis. El anhelo de reencontrar unas simultaneidades  a partir de la diversidad de puntos de vista, que había iniciado el cubismo, estaban integrándose dentro de las arquitecturas del espacio urbanístico.

Retomando ahora al espacio iluminado, que dijimos era el modelo por excelencia de la actividad artística, llega el momento de explicar resumidamente el desarrollo de esta obra, los murales del paraninfo de la Universidad de Almería.

Paraninfo3

A partir de una selección de bocetos preliminares pueden mostrarse las distintas vertientes de la actividad creativa. Como puede percibirse, en ellos tienen un lugar prioritario los conceptos de sección, métrica, ritmo y color.

El curso del trabajo fue creciendo y los distintos afluentes acabaron integrándose en una dirección común, del mismo modo que en la arquitectura del paraninfo están integrados todos los puntos de vista del espacio exterior, que nos sitúa de nuevo en este espacio construido que es el ambiente en el que se desarrolla la actividad social académica. Llegado el trabajo a la fase de madurez, durante un proceso de elaboración, un año aproximadamente, la actividad creativa se acerca a su conclusión. Se intuía que el dinamismo interior del mural entraría en resonancia con el impulso cultural que seguirá desplegándose a partir del espacio del Paraninfo de esta Universidad. Al unísono, en una expresión de materia y ritmo se busca integrar todas las direcciones resultantes en un campo dinámico común.

Si miramos  la naturaleza con fe, como siempre he creído, encontraremos en ella  todos los grados de esta común participación.

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