ALLEGORY FOR BUSY BEDS
© Maria Milianl. 2008
Eroticism keeps a dual anthropology that is composed of a physical body having few major differences between each individual. However, great differences are to be found in spirit…in a way that real abysses separate the emancipated spirits from the flock.”
Rubén is one of those artists who, under his liberal will, becomes obsessed with a recurrent theme exalted by some religious systems and doctrines: eroticism; and, consequently, with all related to sexuality and its implications. Using a minimal strokes figuration, he creates an authentic formal discourse which comes from his previous education as a serigrapher; he outlines silhouettes of stressed borders which join in sexual games shaping their libidinous zones.
In a sort of unprejudiced Kama Sutra, he tells us his Camas ocupadas (Busy Beds) through figures void of individuality, confined to a planimetry that is broken intentionally to highlight specific zones, to reveal an emphasis when reading his codes which articulate in an implicit symbolism of hidden, but accredited positions. The bodies, single or coupled, rise to satisfy the most primary of desires, sexual appetite, without the mediation of aesthetic second intentions in the color and texture treatment. His work moves with a basic perception of eroticism, from a didactic and ludic approach, in an allegory that mate’s man within an ostensible and veiled reality.