Humano - About my painting


We shall share, from our experiences of earth, the knowledge that there are places of power were we can have a glimpse of such from an unedited aspect.

Places were our psychic center of gravity is modified, “sites” (1) were we open to a particular modality of being ; since objects of power exist and propitiatory practices.

I´m referring to an observation infinitely prosaic and trivial. The mystery of the world does not adorn itself of any prestigious semiotic towards a public, and, of the small coin of sense of whom human fear makes an effort to build a wall, history only teaches us one thing with certainty: it will not continue tomorrow.

Here, << power >> is, simply, the infinitive mode of the verb that evokes the capacity of doing.

In this sense power is distinguished radically from reflection. To reflect upon, is not acting, it is more to dilute.

In respect to the artist (in which our culture is pleased, doubtfully, in differentiating from the “homo-faber” in general), his creative practice is a ceremonial dance were something is risked; were the saving of risk is impossible. The celebrator faces, one more time, the vertiginous verticality of a baby to formulate a convocation. For a painter, this practice can be described as the invented encounter with an “already existing” form, inside the provoked unforeseen, to which the celebrator assigns an aggregated value that only deceitfully may result from feeling. Order, can only be administered, and, from the catalog of “forms” that we posses (or that posses us?)in the memory, nothing will surge. None of the qualitative jump here without the yeast of caos, nothing new without the zephyr precursors of the dionysiac presence, none of the chess game without the bishop (2).

1-In Spanish in the text.

2-This piece of chess is called “the madman” in french ( le fou)

Of the “modus operandis” of the dynasty of land surveyors of no man´s land were Aguilar brings about his credentials, we have a certain notion thanks to the observations of Leonardo Da Vinci: the genesis of a painting does not consist of the sum of orderly objects by a logical narrative. It is the encounter of fortuitous indication and the narrative will.

He advises the painter to begin to mackle the virgin surface in an aleatory form (throwing a sponge filled with paint) and then attempting to distinguish and perfecting an “already existing” image between the stains that he discovers.

Thus, the beastiary of the prehistoric caves is frequently overimpossed in suggestive threads of the rock; thus we can see many things in the volutes of smoke and in the covers of the clouds and a part of art denominated abstract of this century that was dedicated to producing these precursor accidents.

Aguilar does not seem to believe that this is enough to give sense or image; because of his curative profusion, his process is similar to automatic writing. The “ fieriness” of his trace suggest to us that he takes a risk, alhambresque, to the eventuality of a surge were graphic ability approves the conquered emptiness of the medium and were the hand, freed from the slavery of will, gives, like a seismograph, the indication and eco of an out of reach tectonic mechanic.

Any artwork is only worth for its “lapsus” ( this succesful “failed act”); for what “escaped” the author, for this grace of unforseen that converts him into the mediator of an apparition. The artistic practice, if that is admitted, is then a discipline of the inadvertance.

The technique, the accumulation of the experiences, of the aquired, recipes and “know how” are nothing without the apparition of this grace. But this apparition will not take place in his absence and, if we know many wise inert and mute productions, we could not enunciate innocent successes. –God is everything but he does not replace anything-

To invoke the practice of the painter, we may use the warrior´s metaphor : there is strategy and tactic , these instances of clippings of the time of the action.

It would be presomptuous to invoke the stategy of the creator, in his intimate space were commentary belongs to him. On the otherhand, the tactic, gives indication for the appreciation from which the spectator may adventure with certain legitmacy. Lets not evaluate this approachment as proceeding from sophisticated preocupations. It is about “seeing” for pleasure, like the finished painting is the print of a task, as how Aguilar took the risk bringing out the goblin. The aspected satisfaction of this imagined re-presentation (a posteriori )is similar to the commentary of the bullfight, of the chessgame, of the gastronomy or of the war. There we experiment the veracity of the adagio that “ the genial man is the one that finds me genial”.



Michelet tells us, in the prologue of << The witch>> , how the century of the lights seals the duel of the Bread God.

The centuries of christianity transgressed, sometimes in war, with the dionysiac powers: 18 centuries of battles, skirmishes and guerillas, collaborations and compromises, cycles.

These two millenerians have given shape to the adversaries, old terrible couple, that even seems to be confused, until not imagining a better incarnation than of the Demon of Torquemada , nor a more diabolical trap in its mechanic than that of the procedure manual of the inquisition.

In the extinction of the Great Revolution, when the modern social mythology perfects its dramatization, it is relevant that Lavoisier inagurates the approachment towards the world of chemistry through a countable pragmatism: << nothing is lost, nothing is created, all is transformed >>. In daily life, Lavoisier was a contributions collector, he subordinated nature to countable balances, and, in chemistry, this functions.

Thus in the imaginary of those who write, inventing, what they believe to be the spirit of time, Michelet heard fall a terrible silence: The Great Bread had died. It would no longer accompany man of its invisibility in a decadent universe, leaving the inventory pending.

Thus, this proselyte sect of terrible envy, grew and impossed in the past century, the baroque idea that the sum of two plus two is four, even outside the theory.(while the children dicover in vulgar practice that it is not like this)

Aguilar,/ elegant of the crests/, evolves in a space free from this infection. Not only does he paint a world but rather, from a literary world of sovereing intuition, were the orders of altered casuality are subverted.

First world of the inaccesible memory, of all that we have, poor << in the tip of our tounges >> and that is erased. Line of the horizon of memory , its limit.

Remember this world, were, like fortune, man could loose his honor, his shadow, his refection or his image, his smell or his gaze and even his fecundating power.


The world were the reflection of a moon, emancipated, may shine, half witted, under a sky without the star; were we can join, inverted nymphs, subaquatic universe of the yoruba, to the mystery of the refracted sunset perceived from the marine abyss.


Here, our geometritian, chartographer, dandy of the confines manifests, by the facture, one takes notes, tachigraphy in certain manner, adapted to the grasp, in unreal time, of the impalpable presence, unspeakable, that allows to see inside the antlike profusion of the fiery relation inside the infinitely fugacious. Sketch, in the manner of Delacroix returning from North Africa, diary of travels, almost a cartoon by the hypotyposis. Concentration of the real signs of identification were, in the urgency assigned by the forgetfulness, the designer composes with the technique to scare the horizon of amnetia were our personal universe is abolished.

Finally, Aguilar brings us, an unespected book, sketches of expeditions overimpossed as in Lascaux in the cave. Enigmatic indications of what entrails the shadow in the surrounding of a tropical Dionysus, suggestion of what takes place in our absence, at our backs or in darkness, in each blink, when the extintion of our myopia authorizes the unspeakable a diaphanous incarnation.

Aguilar possesses a Jesuit virtue, he has understood the infinite potency enunciated again by Vasco de Loyola that liberates the abandonment of Ego.

His sketches of expeditions have that vital force of the harmony of colors, of a nature that the artist transcribes, transgressing with humility the colorist inhibitions of the School, without having to take party, avoiding all polemic.

It is that there always is a posture to the manner of painting, custom of the creature were we find ourselves again, of course, the pitfall of the seven capital sins, Pride is the most common upon the debutant painters (and there may be great << debutant painters >> ). Here the weakness consists in abandoning the intuitive way in benefit of the logical calculation with the objective of seducing. Fidelity to the propiciatory contract: sacrifice of alligiance with the imaginary Moloch, first circle were many destinies are drained.

The joke were upon there is more serious people than funny, since it is more easy to fake being serious than funny, is proven perfectly in the field of painting. Most of all in the form of expression that we are interested of in here, and were the medium artist compensates the absence of firsthand information, recurring on a catalog of formalisms, which once established, is more efficient. The approach to the unknown lands (1) visited by Aguilar, for whom he did not go too far in the incursion, will only bring out a small deck of cards, tidbits, gris-gris and tourist gifts that will have to be dramatized with artifacts of light to try to bring on to them an abscent power. In painting, the election of the dramatic and of the austere, of the sad and of the horrid, translates this discomposure, from which there is a search for an effect for which there are no resources. In suggestions, we know that, even the impertinance of the colors, there exists the suggestive notation (if it can be named that); could not << fabricate>> these harmonies, so improbable as the colors of the dendrobates or of the quetzal bird of the western world.

He brings us, here, easily, additionally, and finally, the proof that the dream is in technicolor, contrary to the allegations of the sects inherited from the centuries of darkness, and of the mortification of the guilty man. Sects reigning over the death of millennium whose full potency over the little man, of whom William Reich speaks of, convinces us of the existence of something inferior to the chatterers’ concience, grey and odorless.

We remain at ease, the color glows in generous waves, pulses in organic and vegetable chainings, reflects intentions in the course of the concretion; bubble camera that reveals the silhuettes of projects of beings in formation. Abundant space in pulsating virtualities of an incarnation about to be born in the intangible. Anatomy of Fatum, or a scene from the life of the << goblins>> (1) according to our intimate metaphors.

-Humboldt ( the linguist, brother of the eponymous father of a marine current) explains that the loss of memory allows us not to sink into the continuous avalanche of the survival of the earth, and conditions our access to a narrative order.

-The amnesia is the price of order-and it cannot be a casualty that men of order like Napoleon or De Gaulle, in the arcanums of the great game, had noticed or had written: – the homo politicus is amnesiac.

In certain moment, in the pause of the bronze and iron ages, a tendency of polytheisms to be produced is expressed, chrysalids, monotheisms.

Making of the penultimate branch of the monotheistic mosaic of the Hebrews the religion of the state, the Roman senate ratifies its intromission in the western religious unconscious, by a pre-conscious empire knowing of only being the peninsula of Eurasia.

Sketches and diffracted fragments of the historical-mythical memory of the middle- east of old age, sedimentation of speculations, fine thread of the millenary re-scriptures of the Hebrew group and then Greek. God speaks to the chosen people.

The first word of the prayer is: << Listen Israel>>, exhortation in which children remember that it means, also: <<obey>>.

The anthropology, that establishes diagnostics and avoids proposing solutions, may contemplate, small Switzerland, pertinent systematic groups that would not tolerate the polemic field. And from this point of view, morphologic, the commandment of the primacy of the verb sounds in the lacanian discovery of an << unconscious constructed like language >>, image whose illuminating strength, and capacity, siren, of subjugating convictions, we know.

Aguilar, seer, calls us from other stratums of sediment, manifesting, here, a prior alliance, with playful gods, and in reality teenagers, and, without the least doubt, his exhortation to the awaken man is: see.

The innocence of the deceived would be not to understand the paradox of commenting that. The coherence indicates the way of silence, symmetry of the iconoclasm, in the ascent of a visible advent.

-Extinction of the verb, advent of seeing- But our generation of rethoricals of the lower empire soon learned how to compose with the absurd. And, knowing that the glyphs of the codex brought by contraband, God knows from where; by Aguilar(guardian of the pass, Aztec Charon) will not find the Rosetta stone that would bring them its literary sense. I could not avoid, and it was a weakness of mine, saying something, something like what was said by the director of the american reserves, at the end of a conference, I would have to let him know by anticipation that <<if I was understood, its because I did not express myself well>>.

Text on HUMANO painter, written by Pierre BARATCABAL

Pierre BARATCABAL is an anthropologist graduated in La Sorbonne (Paris), architect earning his diploma in Paris, he was Professor of anatomic drawing and professor of the theory of color in the School of Fine Arts of Paris