(Mª Luisa Alonso Berrojo)
"To live is to defend a form" (F.Hölderlin)
The verse of the German poet comes as a more than adequate framework and, despite its multiple interpretations, to walk through the work of Fernando Suárez, as full as it is with movement, shapes, games ... So full of life!
That serious and conscientiously neglected territory in which children immerse themselves when they play, where intensity is the norm and vitality the precept, where everything created and imagined seems as real as reality itself and where space and time belong only the one who stars in it, it is the setting in which characters, objects, constructions, stories pass through ... It is the territory of the game in which many artists, if not most, remain all their lives: they live in it and thanks to it ...
In each artist the soul of a child survives, in a certain immutable way, who never stops playing, being surprised and surprising… There is nothing more serious for a child or more intense than the moment of playing. No action is as real as play, and you can never live as intensely carefree as when we played as children. The same heat and sweat, the same intensity and the same emotion of surprise at the discovery are the elements that share space in the artist, along with training and expertise, in the creative process.
Without losing an iota of his maturity and mastery, this seriously playful and curious spirit plans on Fernando's work that leads him to look around him with avid and intuitive eyes as if the world were one of those scenes in which, From the pages of a half-open book, all kinds of things and figures come out, set in motion and come to life. Then, with all those animated fragments, be it a flapping of wings, plunging into clear waters, the swaying of a body or the dynamics of a moving car, apparently fragile but solidly dense frozen scenarios are composed where the representation of suspended movement acquires its own nature. .
Noguchi said that "weight is what gives meaning to weightlessness" and that dialogue between two antagonistic aspects is manifested as a constant in the permanent games of characters suspended from a cable, immersed in silicone blocks, in a modern Icarus about to of taking flight or in the collision of a car against the wall. At the same time, it also serves to contrast two other antagonistic ones: the lightness of the movement against the rigidity of the iron. Or the opaque density of metal versus the dense but translucent quality of polyester. But Fernando plays a lot with many things. He tirelessly records everything that he can transform into iron and tell in small (or not so small) stories whose end we have to imagine.
Nature is one of its various sources of reference. He seems to have taken very seriously the point of view of that master of anthropomorphy and movement that was Rodin when he pointed out that “There are unknown forces in nature, when we give ourselves completely to it, without reservation, it provides them, we shows ways that our eyes do not see and our intelligence does not understand or imagine "
The natural world is a vast referent of inestimable wealth in shapes, colors, rhythms, textures and all kinds of manifestations susceptible to recreation, creation, synthesis, interpretations and even as a supplier of artistic material.
Like any sensitive person in this time that touches us, and in which the threat that looms over Nature is too alarming, Fernando is concerned and worried about aggression by human activities. It is curious to observe that just as human figures are presented in continuous movement and developing an activity that is sometimes frantic or where high physical participation is required, in the figures of animals a calm passivity is perceived, a greater stasis and a distance that is not tempered despite the use of steel plates and the personal way of building the volume. It is as if the animal observes us knowing how much humans can complicate its life ... And there is a certain greatness and dignity in it. In this way, the grandeur of classical representation is permeated with a contemporary way of modeling and using industrial material and endows animal figures with the same tragic dimension of the solitary hero. Majestic in its simplicity appears the figure of the gorilla or the vulture, distant in their fullness and rotundity but poetically and painfully alone.
Fernando's profuse and versatile curiosity and his search for imaginable settings have also led him to explore past, present and “future” architectures and constructions. From Neolithic stilt houses to industrial structures to constructions that seem to have come out of a "star wars" to once again abound in the effect of rust and horizontal-vertical play, fleeing from monumentality to build at the scale of our eyes and make ourselves spectators or members of ghostly cities, uninhabited and uninhabitable but that exist and existed in a place and a time, both real and imaginary. And where the game continues between the vision of lightness of oriental constructions and the idea of heaviness of industrial structures, or the movement of galactic ships against the statism of modern ruin. There are many photographers of the moment concerned with capturing the images of emptiness and desolation that occupies a space where life and activity existed and developed. And there is also in these works that atmosphere of mystery and solitude.
But what I like about the constructive sculptures in this exhibition is a kind of poetic and subtle irony that permeates works such as “dialogue bridge”, “organic houses” or “under construction”.
Although a lot has been written (and for many it is) about the inspiration and debt of this work with the comic both in the iconography and in the aesthetics of the fragment and the sequencing technique that, by the way, is typical of our culture, And in part, that's right, the truth is that there are much broader and more diverse references ... The text began talking about the game as the most serious, credible and real activity in the children's universe. And just as children's curiosity becomes insatiable and everything helps them imagine a parallel world, the artist is also a great perceiver who goes to everything and drinks everything and, after passing it through his filter, returns something that always it was there but it exists again and is alive again in other forms. The amber illuminations and the underground spaces of that delirious cinematographic jewel that was “Delicatessen” or “The Invisible Cities” come to mind and I see Fernando as a modern Marco Polo in permanent dialogue with Kublai Khan, without ceasing to search for worlds and explanations ...
But I'm going back to Hölderlin to continue defending life in these "Forms"
“Are not many living beings known to you?
Are not feet slipping through the truth as through a carpet?
So, my genius,
enter life naked and do not worry!
May everything that happens to you be for the good!
Match the joy!
What could offend your heart?
What prevents you from going your way?
(Maria Luisa Alonso)