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An irreverent constant of Latin American visual art, also asynchronous in the attention of the global Modernity in which it is inscribed, and because of  its very vanguard nature, emphasizes in the case of the contemporary artistic image, a sort of obstinacy for the backgrounds. In the work of Joaquin Barrios, being a marked intention to give priority to areas with some extensive vagueness, but also full of paths; these last responsible for the forms, resistant to the abstraction for an effort of suggesting possible destinations,  perhaps future spaces that become absolute,  almost truth,  in a visual construction of frameworks, and not  few visions.  These pieces, legitimize in first instance,  a heroic gesture of the artist in the discovery of his mixtures that are not only of materials and colors,  but of earthly essences that confuse the gestures of the painting with an atmosphere that is built artistically  and handcrafted, through an exemplary technique of commitment and creative pulsation.

This time, the visual discourse of Barrios  loyal to his game of appearances,  narrates with more force the warp of  textures,  almost bare to reveal the trance of structures that become volumes and also voices; glances,  which lets escape,  on occasions,  combers eyes,  undamaged ships,  or mysterious scenes of a landscape that is more human culture than nature.  These works reach amazement,  just by its intrepidity towards omission or misunderstanding of their vision,  which do not permit  impassivity or stillness.  If the abstraction,  just as understood in the avant-garde painting index, these pictures would not allow hanging.  They have nothing to hide because their concepts are their proper of feelings and disruption of their artistic time.  If it was to strain the concept,  it would not enunciate, because the structures seem to proliferate in  events rather than images.

Every two or three art works, small deaf windows,  but speak able  and discrete,  open your senses among the opacities of the pictorial space to refer the wakefulness state before the artist's breath  taming  the backgrounds  in front of the impossibility of silence,  stopping or turning off storms. A diptych,  impressionist debtor of the afternoon,  tells how  the Suns still burning,  yield towards the immensity of the waters, and presage calm,  which is how to definitively understand the harmony of all collective and intimate passions.


Aurelio A. Horta Mesa

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