Ricardo Calero invokes fluidity in a less cryptic and more poetic way, folding and unfolding the time we have experienced, seeking minimal, porous, latent horizons in all kinds of textures, in the unexpected. Thus, he engages with the wear of materials and, like Borges, understands time as substance, penetrating the space of life to discover what Gadamer describes in German as verweilen, learning to linger on a work, allowing the image to unfold its beauty. This is why he turns to natural materials, which allow our eyes to penetrate their surfaces, their patina of wear leading us to other landscapes, bringing us closer to Cézanne’s aspiration of making visible how the world touches us. This reading of textures and density, this setting of optical and haptic temperatures, reveals the hidden poetic dimension of the artist's works, which always comes from the least part of the object, or more specifically from its resonance, between the proximity of solutions and the distance of doubts.
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