Dos sonidos, cuatro noches (Two Sounds, Four Nights), in continuity with the rest of the work of Jerónimo Elespe (Madrid, 1975), offers oblique approaches and encourages indeterminate, almost dreamlike interpretations of images that appear as veils concealing other realities. His works consist of multiple layers of materials that have been added, removed, diluted, or partially to completely covered by others. These processes create palimpsests where narratives persist, with sources and references that, regardless of their origin, become indistinguishable parts of the artist’s intimate experience, where the personal and subjective resist the collective as the dominant structure. Elespe’s works are not intended as vehicles for arriving at common understandings or precise meanings but rather as organisms of visual resonances that expand from the hermetic.
The emphasis on process, materiality, and the various visual languages employed allows the artist to continuously search for open-ended results, reflecting his indifference toward a final outcome. In this sense, Elespe’s work acquires a philosophical dimension, exploring the non-linearity of time and the complexity of life experiences through semi-transparent, fluctuating, and hypnotic surfaces that are seductive in that one can only attempt to decipher what is not absolute.
“all done unsaid
again gone
with what to tell
on again
retell”
(Fragment of the poem PSS, by Samuel Beckett)