"Icarus I" (the silence), 120 x 120 cm. acrylic on board.
Cat. Exhibition: II Concurso de Pintura Libre La Rural, La Carolina (Jaén) 2009.
This is the reason why those features are so closely connected with their format. A square can be turned round with no problem. Unlike other parallelepipeds, it has not clearly a top and a bottom,
or a right side and a left side. The paintings with a square format suggest that vertical, implicitly revolving fall better than any other formats. But we cannot help drawing attention to García Cano's concern for the golden ratio and for the modularity.
The themes are different all the time, but the series suggests the idea of equivalence. This means that each painting can be compared to all the others in terms of such basic concepts as the themes, the technique or the emotional intensity that they arouse.
It is a repetitive module that takes us to the universe of minimalism, which is also "anesthetized". Therefore, I believe that this artist evades like few others can do the distinction between radical abstraction and figurative painting, or between the absence
of feeling and radical feelings. His distance from the theme and the feeling of its rapid reduction (a strange zoom effect) have, therefore, a deep raison d'être.
We go back to the origins, to the very essence of the
art of painting: the edge of the canvas, the contents, the format, the size, the surface of the canvas and what is represented on it. In short, all this speaks of the spectator's body, of you and me, of our precarious presence in the world and of the incredible
instantaneous quality of existence. The paintings (these paintings) make us like gods, even though it is only for a moment, while we descend shuddering and in silence to the cozy dwelling of the earth.