Rafael de Pool | THE ARTISTIC WORKS OF RAFAEL DE POOL
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THE ARTISTIC WORKS OF RAFAEL DE POOL

THE ARTISTIC WORKS OF RAFAEL DE POOL

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The first thing we notice when we look at the works of Rafael de Pool is the presence of realizations inspired in the adversity and compromised with the diversity. The interesting point of it is that these concepts of adversity and diversity appear later as a last impression by the complete view of his works. Adversity is associated here with bird species now extinct and other ones in danger of extinction. The reach of the adversity goes into circumstantial ecology that rules the life experiences of the human being.
This idea of adversity is linked to a desire for diversity. This diversity is a nucleus where the attempts begin and the place where our plural reality is destined. It belongs to an ecological and ideological richness and to the proper essence of the natural and cultural concepts. It is unthinkable, without the notion of diversity, to accept the natural and cultural concepts, flora and fauna, human matters and expressions like development and advance.
We can understand all this by accepting that, although it is true that all humans being are
equal, it is not less true that they are different to each other as well. Definitively, we are living in a universality which is equivalent to a « diversality », and our contemporary concept is the supreme expression of heterodoxy, pluralism and divergence. In our way of thinking, Rafael de Pool’s reflexive sequence is getting across this scheme.

The rooted contents that have been described can be translated as a joinery which shares a strange feeling of rusticity with a delicate and meticulous resolution. There is something swift, but there is also predominance from of the fine and the delicate. The artistic works appear as sedimentary structures and as erosion orders. We can perceive an emphasis of indivisibility, but here is also the presence of a play which promotes ambivalent effects with metaphoric reaches. The structures are fragmentary and the spaces are grooved. However a single compendium is imposed. Everything has an appearance of fleeting and stability in permanent alternation. In this way, the ending of the perception occurs with a whole view of each work and a partial capture of each detail. Beyond each plane there are many other things different from those which can only been recognized visually. There is always a secrete structure which works in function of a bold and devoted invoice. As a derivation of this passion a summon and a challenge to the spectator takes place. We feel to be in front of compressed ecologies, on relieves and planes which are revealed in condensations. There are cages and birds which have become ecological symbols. The material and the inmaterial go together in order to favor sensations which are incommensurate. At this point we go back to the art critic Bachelard in order to understand that the incommensurate is « a philosophic category of a dream which escapes from the next object and concentrates very far away, in a space that is located in other place. »

Rafael de Pool is inspired in the ecologic and poses wishes to go beyond the ecologic. His root is of ecological nature but his purpose points towards the anthropological. He understands that the human being is not different from the reality he meets. The human being is the subject and the object of all this equilibrium. For this reason, the artist not only gives a testimony about significances and experiences, but he gives it also in connection with life experiences and human feelings. In the end, his work results in being of critical
inspiration and an exhortatory vocation. It is more than a denunciation. It is a complaint and an invitation. At last, the artist feels the strange combination of a suffering and a dream. these sensations revive Schiller’s aphorism: « What fascinates the fantasy is a ghost and what touches the heart is an illusion. »

It is necessary to emphasize that the reach of this work not only bases itself on a combination of the rustic and the lyric. A register definition must be taken into account. It goes farther than any qualification inclined towards the figurative or the abstract. Rafael de
Pool goes beyond that. He acts in that sinuous and complex interstice of the undetermined and this suggest the existence of an extraordinary quality. This involves a rupture with the conventional and a jump into the extraordinary. In words of Lyotard we could say that the communication of the no communication is the supreme expression of the aesthetic communication. Therefore his proposal begins where de difference between the allusive and the elusive disappears. It also starts where the oral language stops searching with the spirit of a treacherous translator. To say it in words of Octavio Paz: « The sense is in other place: there, always beyond there ».

From a formal point of view, the artist tries joining nucleus and segments to build integrated groups. The results are accomplished through balanced geometries that respond
to asymmetric and thread-like appearances. The asymmetric is expressed with proportion and sequence, whereas the thread-like appearance proceeds from hanging filaments which give prominence and expansion to the artistic piece. This combination always adopts a temperament of balanced proportion, which does not hide the intention of linking rationality, caprice, solidity and volatility, simulation and dissimulation. These sensations grow through integrated spaces and shadows which are projected on planes and coats.

There are a lot of visual attributes arising from De Pool’s intuitive attempt. First of all we can notice pieces that are always activated through the force of an intrinsic richness and through the interactive capacity of the spectators. The fundament of this activation cannot be separated from the technical aspects and ideas to which Rafael de Pool recurs , because the same are directly related with the intention of his proposal. He assumes the proceeding and selects the materials with a purpose more substantive than occasional. The coats of true or simulated feathers, the filaments of wood and iron, the stones, fibers and graffiti, and many other resources are assumed by the artist using his intrinsic attributes. They obtain the symbolic connotation which he searches. A specific value and a generated fecundity join together to revalue the importance of the work In the order of this capacity, different realizations arise with a spontaneous proliferation. None of them become free of the pressure the concepts give, but also any of them separates from the material’s weight either. Concept and material work together with a high fidelity which reinforces M. Blanchot’s sentence: « The liveliness proper to an image is the arising point where, talking to the inside, speaks wholly to the outside »

By Victor Guèdez