Profile

Chibbaro

José Garca Chibbaro

The current resume of the work and personality of Jose Garca Chibbaro resembles more an illustration or disquisition about himself, rather than an exhaustive analysis or a definition. It is not about justifying what he has done, but only to record what he has achieved up until this point.

However, and in spite of what we have said, we should infer that the aesthetics, the beauty, the perfection, beaten so badly by theories and critics, still in fact continues to be demanded and experienced more than ever in our century, and are still professed, although in a misleading way in the field of doctrine.

There seems to have been a greater withdrawal than ever from beauty, however this has not exposed the doctrine more than the nostalgia of beauty the rest though, appears too risky. However a small group of artists such as Garca Chibbaro, have achieved it.

Some aspects of the aesthetics corroborate with the social aspects of the aforementioned. Beauty is considered through its fullness, its nature, through the harmony between man and things; so much so. that it should become a concern, a value, and an end that overflows into art and encompasses all the experiences of an authentic human idealist.

This has been Garca Chibbaros fundamental choice, a constant search through the art of something superior. For this reason he is, perhaps, an unclassifiable artist that represents a completely isolated case within the local milieu. He in effect, is unique.

The task of interpreting nutured work such as that of Garca Chibbaro, means to undertake and to consider an extensive background of topics that range from the old techniques of fresco and the use of tempera, to photography and other contemporary technical reproduction methods, also by going through a series of helpful activities that assist in the execution and the subsequent decisions of his works which present important social and historical-cultural connotations, and by allowing multiple readings that rarely go by topics or never reveal the history of art like they are tourism, the urban historiography, landscapes, communications, the scientific and technological advances, the monuments, the collections, the catalogues of antiques, etc, etc, etc.

Specifically when considering the romantic method which he has explored through his expeditions of Universal History (trips) as much to the small places as the big, Garca has questioned all the species that exist, he has appropriated encyclopedic subjects, he has investigated the subconscious along with the memory, and during many years he has spoken with people from western cultures as well as with people from more exotic reaches of the world. He has become aware of how to look as much through the telescope as he has through the microscope; he has penetrated into the organic systems and the cosmological ones examining them in search of analogies and metaphors for his artistic purposes (method).

In spite of a marked postmodern influence in Garca Chibbaros work, he has remained faithful to the old school. His imagination, although it has overflowed on occasions, has never been authoritarian nor dominant. It habitually intervenes, operating skeptically, ironically, contrastingly, and paradoxically. His succinct and clearly structured work, has presented the rationality and planning of a "method" through his intricate and skillful contradiction