Our analysis will travel from one place to the next without haste, with plenty of pauses before each one of the colours drawn by the brushstroke and his palette knife. The more explanations I try to find for Juan Antonio Guirado’s art, the more connections I find to the concerns that pulled the strings of artistic creation throughout the 20th Century. No, Guirado was not a madman. Nor an isolated man. Nor an old-fashioned painter who yearned to leap impulsively into the void without a net, drawn by spurious ambitions. Nor a visionary who decided to cover his pictorial halo with an Australian-style pantheism.
I do not know if he was conscious, intellectually, of the path that he was following, but he oriented himself instinctively towards perfection, walking down a trail of unfathomable depth. It’s as if he had a GPS or a compass in his head to guide his intellectual search and his creative fire; he was always searching for an alternative avant-garde that he himself creates, between realism and abstraction. Schoenberg, the abstract musician par excellence, also wrote about this. And it seems to me that Guirado carries Schoenberg within himself, even though I don’t know if he ever read Schoenberg—others, already mentioned, who had similar trajectories, did. “You will never find two identical objects in nature: in the natural order, two plus two will never make four because in order for that to happen, it would be necessary to have two absolutely identical units, and you already know this is as impossible as finding two identical leaves on the same tree, or two identical trees,” he said. “Your numbering system, which falsifies the visible world, is equally false in terms of the invisible universe of your abstractions, where the same differences are found between ideas, which are nothing more than objects of the visible world extended by their mutual relationships; in fact, differences are even more marked here than anywhere else.”5
Complex? There is nothing clearer or simpler than life and reality themselves—no two objects are identical. Not even copies. Not even imitations. Art and its representatives in the various disciplines had to teach us this lesson about what our eyes cannot appreciate at first glance. In fact, even though Guirado’s paintings address the same themes time and again, they are never the same.
Juan Antonio Guirado lived immersed in these dilemmas from the very day he became a prophet of painting, of Nature and abstraction. Other issues and causes would surface but always in the wake of what the great artists sought in many centuries of artistic research. There are no two identical artists either, regardless of how much they follow something or someone’s example. Guirado is definitely a painter committed to his own quest—which, in the end, is the usual quest. From the beginning of time. Over the years, I have come to realise that every creator’s work stems from identical motives. It is obvious that they are not all the same in terms of form and style. Nor do they all find the formula to open the doors to transcendence. But if the artist is honest and what guides him is an eagerness to explore, to ask questions whether or not there will be answers, he will find he possesses a thousand and one words and experiences that he has never heard of or read about. It’s as if they have flowed through his veins all along and, little by little, they emerge, like a genetic inheritance. Who knows? Kandinsky said as much in a lecture he gave in Cologne in 1914: “I do not want to paint music. I do not want to paint states of mind. I do not want to paint colouristically or uncolouristically. I do not want to alter, contest or overthrow any single point in the harmony of the masterpieces of the past. I do not want to show the future its true path. […] I only want to paint good, necessary, living pictures, which are experienced properly by at least a few viewers.”6
To Be cont..