LANAIRE

In memory of the golden thread of Hilario Franco

"The line is the beginning and the end of drawing," says Roberto Chartam, who began his art studies in the workshop of José Luis Huete, his mentor, Palacio Los Serrano, 2008-2009.

The artist, after twelve years of passionate work, in the same place where he began –AQUIAHORA– closes the circle with this exhibition without a single curve.

The visitor, in an ideal action, moves through rectilinear spaces –set of minimal, pure, Florentine lines–, completing the work.

The VERTICAL_HORIZONTAL_DIAGONAL  generates symmetrical voids, superpositions, aerial areas.

Rooms-wings (salas-alas, in Spanish) I and II. Diagonal-agonal compositions.

Set of Chiaroscuro technique. Shadow irradiation.

Interior-exterior to move around-see (moverse-verse, in Spanish).

The invisible.

Holes-eros (agujeros-eros, in Spanish).

The air gap allows one line to pass through another line to the coordinate-ordinate-nothing.

Concert of silence for three threads: red-blue-green.

Chartam (paper, letter, cartography, in Latin), with his overlapping vegetal papers and his set of gauged pencils, is a geometer or, better, a subtle weaver who from his loom-home (telar-lar, in Spanish) like the spider that stretches the silk from itself, manifests the structure and movement of the universe with its aeriform murals.

The creator's mission is to find the invisible line of things, soft as wool, and cross it –Teresa is art (Teresa es arte, in Spanish)– with determined determination.

The artist of simplicity-complexity presents us with two spun atmospheres so that the presential-essential observer, following the imaginary and melodic lines, transits the ethereal spaces like his paper cranes –casual-causal–, at his leisure.

One day I felt like touching the horizon line, so I said: HORIMONTE ©.

Farewell.

Eduardo Scala