Por encima del jardín

(Above the garden)


RONALD MORÁN doesn't add something previously nonexistent to the world: his gaze plunges into shadowy places, into the piercing aspects we avoid seeing and touching. Not only does he make them visible and tangible with that unmistakable aesthetic of paradox that has earned him international recognition, but he transforms them with a subtle poetic that confronts the weight of reality with the lightness of imagination, never taking his eye off them. And, through contemplation, he discovers the interstice through which hope escapes.

Isolated in his home during the pandemic, the artist saw from his window the "razor" wire fence, rigid and thorny, "that hurtful curtain of metallic ivy" that proliferates in Central America to the point of being seen as a natural extension of the garden, and which is not only a security mechanism but also a form of social fear and isolation, an object-metonymy of the confinement that imprisons each territory. Moran grasped its sharp points with his gaze and with the materials he had at hand - rice papers, notebooks, ink, and brushes - he set out to transform them by resorting to the millennia-old legacy of sumi-e ink painting. He faced this piercing form by representing it in instantaneous black and volatile strokes, which ritually transformed the barbs into organic or stellar forms, and opening the space of all confinements to the open space of transformations. But his poetic operation retains, like the totality of his work, the precise reference to the real that asks us to contemplate and, at the same time, to move from place to place.

The same artist who covered spaces of domestic violence with the softest cotton; who made existing or planned walls transparent, penetrable to the gaze; who has traveled with migrants filming the borderless sky above their heads; and who has made us discover in the image of thread mazes or invisible staircases that lead nowhere, concrete metaphors of social abysses; he brings our eyes to the razor fence barbs and performs before us the process of a transformation that materializes first in wonderful strokes on notebooks painted like a diary, and then in hanging drawings or objects created from this sharp form and its reflection: the dangerous spiral dissolves into modules from which organic things, trees and vines, or stellar figures and "tropicalized" calligraphic signs, emerge, constructed with transmuted barbs and their shadows, as coded messages of all that, beyond isolations, we can collectively imagine.

Above the garden, he brings together multiple media - ink drawing, ceramics, sculpture, installation, and video - in which Ronald Morán fulfilled a process of artistic liberation: he unfolds on the walls the poetic of the moment of strokes that make existence light; transforms the piercing metal curtain into a barricade that we can surround while deciphering the manner and sense of projecting the sharpness into soft shadows; and confronts us with surprises of restitutions. The ugliness of the barbed fence originates the unexpected growth of the ivy installed on the wall or the discovery suitable for social contemplation of a garden of metallic plants, as beautiful as they are cutting; and projects in the same structure of the circle of barbs a changing sky. "No form of fear seems to write in its language, in all media prevails over the vast space of the possible". 

- Adriana Herrera

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