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At times, the idea of the form arrests time and almost life itself.
It manifests itself as the inescapable fate of both images and things. Like Calderón de la Barca’s monster of fortune, who wandered about “without light or warning”: without light, for it—the form—must exist independently of circumstances; without warning, for a stable principle needs no announcement or pretence of discretion.
In a way, it assaults those images, those things, imposing a number and a measure on them. It forces them to split into parts, into sections, into fragments that are then contingent on the dynamics of possible combinations. It composes and recomposes them. It inserts some within others to create hybrids or chimeras. It shifts axes, folds planes and, in so doing, defines unknown solids and unprecedented geometries.
In a sense, it makes a mockery of them (“a game of celestial mockery,” as Bergamín called a certain painting, if not creation as a whole). It…
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At times, the idea of the form arrests time and almost life itself.
It manifests itself as the inescapable fate of both images and things. Like Calderón de la Barca’s monster of fortune, who wandered about “without light or warning”: without light, for it—the form—must exist independently of circumstances; without warning, for a stable principle needs no announcement or pretence of discretion.
In a way, it assaults those images, those things, imposing a number and a measure on them. It forces them to split into parts, into sections, into fragments that are then contingent on the dynamics of possible combinations. It composes and recomposes them. It inserts some within others to create hybrids or chimeras. It shifts axes, folds planes and, in so doing, defines unknown solids and unprecedented geometries.
In a sense, it makes a mockery of them (“a game of celestial mockery,” as Bergamín called a certain painting, if not creation as a whole). It…
