Juan Uslé, Soñé que revelabas (Narmada) (Dreams That Reveal [Narmada]), 2018, vinyl, dispersion, and dry pigment on canvas, 107 7⁄8 × 79 7⁄8".

Juan Uslé

Alfonso Artiaco

Since the late 1980s, the painter Juan Uslé has divided his time between New York and Spain, so it is probably inevitable that what might be called a “pendular” mode is inscribed in the work of this bilingual and bicultural artist. Perhaps more surprising is that it takes the form of a synesthetic investigation of rhythm. In the fourteen paintings (all works 2018), in his recent exhibition “Pedramala” (whose title refers to an area in the south of Spain, near Valencia, where Uslé has a house), color, forms, and marks were regulated by a continuous movement, giving the sense of an apparently rigorous structure within which the artist allows himself a great deal of unruliness, with variations, fractures, pauses, and cancellations. The production of these geometric grids involves a process similar to that of weaving on a loom: Uslé accumulates vertical, horizontal, or diagonal signs one by

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