The current Pandemic has meant, among other things, the suspension and paralysation of numerous artistic projects, and consequently the artists' awareness of the need to consider new strategies and new ways of expression. A sort of personal and professional "resetting". Javier de Juan's case was no different. After the hard confinement in Madrid, he settled during the months of last summer in a coastal spot on the Mediterranean, equipped and accompanied by a good number of sheets of paper, acrylics and charcoals, and, above all, with a great desire and need to open new channels of creation and, more importantly, with the determined plan of not having any plan at all. To let the pure pleasure of painting - an elixir less and less consumed by many painters - fill his days and nights.
And so, without applying any filter of sketch, idea or intention, a series of new images began to sprout in the studio, as if by the magic of the magic of art, which nevertheless also carried within them aromas already known, almost familiar. The figures and compositions that emerged from the paper, like daughters of the gesture and the stroke of his hand, did so at the same time as emblems of his memory. It is curious, but absolutely true, that in the storehouse of our memories there can coexist such unsuspected things as those stories - which we were told were sacred - taken from the biblical chest of the Old Testament, and which we were told at school, during religion classes. I must confess, with hardly any modesty, that I loved those stories of heroes, battles, epics, deaths and sex, yes, you heard correctly, also sex... In this way, two men fighting can stage the eternal fraternal struggle between Cain and Abel, or beautiful and sensual girls become Delilah and Judith.
Javier de Juan now proposes SCRIPTURES, his new exhibition project, which already by its very title gives off obvious biblical aromas, but which also affects his particular use of phrases and words, and which undoubtedly add a rich narrative and textual dimension to his proposal.
(Text Francisco Carpio)