Capi Cabrera presents us in Painting and Waiting the certainty of his intuition. The apparent coincidence of the work exhibited is the result of learning (dis)doing, of knowing how to intuit the event before it takes place; something as moving as the human being’s need to know himself in mere living.
The artist paints on light supports, transparent cellulose acetate and methacrylate, the function of the cure, which is not the subject: it is the utility of the useless, a paradox resolved by Ordine in his precious book La utilidad de lo inútil. Manifest, by considering useful everything that helps us to become better, without any desire for profit. Capi likes the shiny surface of synthetic enamel and the saturated red fluorine. He knows the importance of magic and the sense of technique. He knows about the mechanics of fluids. There are three motors in his painting: the energy of the necessary waste, the delicate look and the synthesis between the gesture and its trace. Painting and Waiting is also, perhaps, a metaphor for the undeniable wall, the plane on which the painter projects his poetics as life unfolds. It does not express time. It does not represent the moment. He encapsulates it. When he turns the acetate over, he makes the millimetres of the pictorial load disappear. The brushstrokes reappear as on the illuminated screen of the monitor. Ora stops the gesture. He waits. Ora strains the movement. Thus he shows us, with playful methodology, the back of his painting, the hidden layers, the unusualness of the facts.

Text: Juan Antonio Canales Hidalgo