Description
Defining the work of Louis Soutter is entering the labyrinth complex of an artist whose style defies any easy categorization attempt. Faquiristas - 1937 is one of those pieces that seems to invite the viewer on a trip through a dream world and disturbingly attractive. Painted in a time of great social and personal changes for Soutter, this work captures the spirit of a mind submerged in the depths of despair and genius simultaneously.
The mixed technique and the use of intense black in faquiristas admirably enhance the sensation of drama and tension. Soutter was known for his love of working with his fingers, a technique that began to develop during his stay in a psychiatric asylum. In this painting, this direct application of the pigments can be clearly perceived, which adds a touch and almost visceral layer to the visual experience. The texture created from the rubbing and friction of its fingers with the surface of the paper is a testimony of their physical relationship with their art, almost as if each stroke were an extension of its own anguish and epiphanies.
The characters, which in a first analysis may seem abstract, begin to reveal humanoid forms as one stops to observe them. In the center of the composition, elongated and stylized figures are intertwined in a ritualistic dance that can evoke both of mystical and torture ceremonies. Linearity and repetition of forms allude to a chaotic but intentional choreography, where each figure seems to be trapped in an eternal struggle or ecstasy. The representation of these characters is neither explicit or detailed, and it is precisely in that ambiguity where the suggestive power of the work resides. The "Faquiristas" of the title can be interpreted as faquires involved in acts of resistance and penance, creatures trapped in their own deeply introspective existence.
The monochromatism of the work, which prefers the austerity of black and white, adds a timeless and universal element. Soutter dispenses with vibrant colors, which could be a conscious decision to focus the viewer on forms and emotions rather than chromatic details. The lack of color reflects a private world of superficial joy, where the essential comes to the surface in its crudest form.
Louis Soutter, who had a life marked by tragedy and mental illness, found in art not only an exit to his internal struggles, but also a means to explore the collective unconscious. His work, especially in the last phase of his life, is frequently compared to that of marginal artists and visionaries, who from the art periphery established their own voice and visual language. Faquiristas - 1937 becomes a powerful testimony of its ability to transform personal oppression into a charming and enigmatic visual language. This painting is not only a window to the tormented soul of Soutter, but also a reflection on the complexities of the human condition.
When observing this work, one cannot fail to wonder about the boundary between reality and madness, and how the line that separates both is often as fine as a brushstroke in bench and black. Soutter's ability to transcend these limits and capture his unique vision of the world is what does his eternal and deeply relevant work in any era.
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