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Romulo Royo


1 900 € 

Author Romulo Royo

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  • 584-P
  • In stock
55 x 46 x 3  cm
21.65 x 18.11 x 1.18''  inch


Ink, acrylic and oil on canvas.

Size 55 x 46 cm.

Year of realization 2010

This work belongs to the series Metal-Skin. Cold metal adorns these angelical faces and in this case the eyes are daringly scratched out, creating and contributing to the character’s mystery. The critic Fernando Castro of the Advisory Board at the Reina Sofia Museum of Contemporary Art, wrote the following about Romulo Royo’s work:

Lucid blindness.

I have the impression that Romulo Royo has known how to direct the inward gaze and even has materialized a certain sense of blindness. Some of the eyes on his faces are crossed out, thus denying any relationship with the outside world. What would the truth be, asks Bataille, if we did not see what exceeds the possibility of being seen? Blindness is the story of abandonment. That which is most beautiful ends up sinking into the depths of memory. However, it is not solely sin and pain that flourishes in this impossibility to see, as blindness can be a gift . The destiny of a mirror rests in the transformation of the impotence of one’s eyes to the condition of blindness . Perhaps blindness, as Paul de Man would purport, is a form of lucidity and darkness can provide fertile ground for a gaze inward. Painting or art in general is always found at the edge; it is what can barely be touched or, better yet, that which marks out a distance by delivering itself to a pure vision . It may be that we must close our eyes in order to truly see. This would assume that in fact what we need is our sense of touch in order to determine the real, whether it is to confirm that a wall lay in front of us or, in other words, to see the void which gazes at us . We must be aware, according to Lacan, that in a painting an absence can always be noted: what is found in the center, where the eye’s resolution exerts the maximum force over vision. All in all, it can only be absent and replaced by a hole which, in certain measure, is the reflection of the pupil. Consequently, and in the measure in which a relationship is established with desire, the spot of the central screen in the painting will always be marked, which in turn, the observer facing the work is elided as the subject from the geometrical plane. When Lacan denotes that “what one contemplates is that which can not be seen,” he alludes to the search of the lost object, to the optical circuit and the drive which are conditioned by the mirror through which the desire to see makes everything materialize.

Videncia, Velamiento y Ceguera by Fernando Castro Florez of the Advisory Board, Reina Sofia Museum of Contemporary Art.

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