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The painting has always been the language of things in the rough, due to its ability to move the wall, canvas, paper or tactile sensations of nature, objects, skin, textures, lights, even a feeling with which we are observed by that fact, discriminatory compensating our retinas, the modern tyranny of the image, see this disease in which the identity of clothing apparently lies between meanings that our brains automatically sorted, forced to look even against their will, blinding us continually.
To whom is the responsibility to lead, as we see Paul Klee said, "is the painter, the artist ultimately, a healer of the gaze. It is he who is condemned to force the limits of appearances to fix or re-found the beauty of the real. After all, you, the vast majority, are no strangers to this way of naming things that artists have for their everyday language, but do the test, and name as far as possible the following images ... if they can resist to paint a picture when the sun backlight draws the shade of our love in the sand of the road, when our son defies fear with vertigo playing on the balustrade of a walk where innocent blue sea awaits to embrace and swallow, they burst in spring the trees along the river like a firework arrested in thousands of green, when in the kitchen tiles secretly asks us our reflection, or even when we look in the mirror hoping to spend some day to the other side, and while we believe another, sometimes so different, to sometimes so far from who we were before we fix our eyes on that other in whom we barely recognize, and which we hear a voice that is familiar and distant, a self-portrait in the case of Pablo Cañas, painted in acrylic us reveals who we are, unable to hide any longer.
The life of a painter is as short as any of us. It is life-pictures of the painting, which goes beyond any human prediction, and that matters. And in that aeviternal existence where the painting will be accountable to itself, in the absence of the painter and the spectators who had at one time. Pablo Cañas has understood well, and with great generosity invites us to share his view on the near, its intimate corners, the faces of his affections, humble tributes to people and local traditions as well as his reflections on painting and painting, his views on life and lived, latent in his paintings ... Then the time has come that we do present pictures and rescue us from the invisibility of the real for transportation to the territory of the memory with the power of color, mastery of his brush, paint a taste for Paul Cañas us discover in each box.July Hontanas.