Barcelona

Perejaume

In his recently published book, La pintura i la boca (Painting and the mouth, 1994), Perejaume established the theoretical parameters of his work, while showing the need for an interdisciplinary approach. His bent for comparative analysis has even led him to join opposites, as when he affirms that “painting” (pintura) and “erasure” (despintura) are nearly equal terms that merely indicate different directions; or that the world has become a simulacrum of the world. “The erosion of the image is constant, from the painting to the postcard, and from the postcard to the decal, to the screen and to the hologram.”

Though Perejaume admits that painting is an absolute trap—through its identification with simulation, deceit, and illusion—for him it is also as much a landscape as the landscape that it represents: the impossibility of mimesis makes painting an independent creation. Perejaume usually paints outdoor landscapes, although he rejects the copy, and the moments he prefers are the slowly breaking dawn or the coming of twilight. Paintings like Claude Monet parant una tela d’aranya al Coll de Vila-roja (Claude Monet preparing a spiderweb on Mount Villa Roja, 1994) or Braque a Costuix (Braque in Costuix, 1992) are allegorical representations of landscape in which he summons the figure of the painter and restores him to nature. In Paisatge cobert de pintura (Landscape covered with paint, 1992), or El Cubisme creuant els plans de Boldís (Cubism crossing the plans of Boldís, 1993), the relationship is inverted; the painting seems more real than the landscape itself. The act of the painter consists in capturing, first of all, an island in the indeterminate space of nature, and then returning to nature its belongings, as is demonstrated by titles like Pintura d’Olot qu’a tornat la seva imatge a Olot (Olot’s painting which has returned its image to Olot, 1993), Guardem un paisatge per quan no en quedin (Let’s preserve a landscape for when there are none, 1994), Estany de trementina (Tin of turpentine, 1994). Real landscape and represented landscape are fused by what separates them: their distinct nature, which time later unites since neither of the two are exempt from change. In Pessebrisme del quadrat negre (Darkness of the black painting, 1994) he attempts to show this, starting with a photograph that makes clear the current deterioration of Malevich’s painting, whose surface fissures recall aging skin. Perejaume’s operation has consisted of a three-dimensional modeling of these fissures. By giving them a body, he has somehow returned them to their original condition, that is, the one they supposedly should have had before being reduced to representation.

Menene Gras Balaguer

Translated from the Spanish by Vincent T. Martin.