Juan Kancepolski
The sensory integrated to the vital (Hector J. Cartier. Foreword exhibition catalog Palais de Glace. 1991)
The first visual-plastic claim is reversed to the sonorous-musical when contemplating the large paintings, large in scale and in creative depth, by Juan Kancepolski. That claim leads to a linguistic metaphor for a concept related to the sonorous which states that the plastic work of this artist is a true music for the eyes of the beholder.
The aforementioned "orchestration" also tells of the necessary and sensible organization of the plastic media, culminating in subtle configurations full of essentially rhythmic sense.
Juan Kancepolski knows, and he knows for sure, that the plastic-aesthetic vision calls for a profound mental reflection that penetrates the sensitive, since the term aesthetics refers to the sensory in origin, it is understood, joining the vital lived, embodied, to germinate the same Art.
This sensory-perceptual-mental origin, so magnificently caused in Kancepolski resulting from his fertile imaginative world is met in each work. It is easy to notice when contemplating his expressions which, no doubt, are products of a necessary meditation not alien to any distress since nothing in creative Art, is launched into what is perhaps fortuitous. This precise control highlights that Kancepolski does not support divisions between the sensitive and the intelligible, between the living metaphor and the symbol witness. These divisions as preached by a current nihilism that came to art, happily, is no longer bearing negative fruit for a "wake up" to the perception which is far from any stranger removal.
From the above, the true artist as the present one relies on the experience of the effective, actually discovered by an efficacious enactment. Thus the structuring employment of "contrasts" -oppositions that make up the essence of seeing- together with the "transitions" cohesive in their rhythms and arabesques that generate the suggested movement full of operating life. If we add to this his rigorous articulation of the "dominant" factors highlighted and the "dominant" in view of the tonal effect of values we will know in depth what is beating, for evidence of presence, in his magnificent work.