Submerged in the “Dried tear” series where Cabellut’s portraits become an immense oriental landscape, we are able to discover the coherence with Siegfried Bing’s “Le Japon Artistique” published in 1888, where he pointed out the need to discriminate real art from vulgar products that imitate masterpieces. Her passion for rare and extravagant objects, for the exotic, has nothing to do with the paintings of this series. These works are not imitations or humiliating pastiches of other works of art. The series is a coherent aesthetic response, an aristocratic acknowledgement that paradoxically enhances the popular nature of a distant art to frame it within its own iconography.
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The paintings do not have a story to tell, are not even a representation, they are subjective interpretations that interpret themselves, the concepts of which flow as disguised metaphors, attempting to communicate their individual ideas. These paintings are stuck in time, but we can breath life into them through their infinite cavities, introducing ourselves into their veins. “The scars are really the veins of the canvas. My greatest obsession is to give a skin to the characters I portray. I then apply the brushstrokes”, says Cabellut. A journey that requires a high level of concentration, all our inventiveness and creative collaboration in order to walk through them. The series is a reflection of the world in an enormous mirror that we have to enter to find ourselves in a desert where our imagination will wander freely among other imaginary worlds.
Each painting unfolds into another answer, another version that suggests another intrinsic meaning, like a set of mirrors, moving to and from between excerpts of conversations, where we confront the tears, the challenge, reality or its illusion in a parody supported by Tachism: the various layers of paint added to the canvas to resolutely erase the source of the original idea. Nietzche’s theory of “eternal recurrence” converted into a parody of all possible theories. The objective is to check, through successive parodic deformations, the cultural melting pot that questions the essential, such as, the goals of humanity, the human condition, which limits should be reset, which limits should be overcome or how to rebuild a new domain, where legislation is regulated by new laws, laws against legislation, increasing our admiration for an artist with a view of another world who continually watches her reflection on the mirror of our diffusion with delicate inflection. The strong content of the images disintegrates the narrative line of a language, where no formal limits are applied to that which does not have limits, where the traditional relationship between symbols and meaning, between signifier and symbol no longer exist, no longer have value as these have been renewed by the strength of imposing new logic on reality, which starts to seem familiar by revealing the oriental painting principle in which the lack of “method” prevails, where the “method of no method” is an irreplaceable axiom in art praxis.
LITA CABELLUT
‘I always question what is real and what is a figment of our imagination.’