Troubadour

It is not true that Lara is an ecological painter; It is not true that in Lara the fundamental thing is the landscape. In this there is a capital deception. In Lara, the natural landscape is a pretext for the oblique study of the human condition. Luck of “naturist Balzac” or “macrobiotic Balzac”, what Lara really cares about is the human condition.
Lara does not want to die. Lara does not want to fossilize and that is why he breaks everything, starts from scratch, puts his body in, always takes risks. What else is creation? His painting has opened up to space, it has irradiated, it has conquered the-beyond-the-frame. For the moment, the spell of illusionism was broken. Lara venerates “the artistic thing”, the value of the tangible, of the measurable, of the texture that already exceeds the hard paste and glazes of those landscapes.
Anyone who knows Lara personally will know that he is a furious observer of human behavior. First of himself. That being the case, it was naive to think that Lara would stay calm with his conquests of the landscape. What’s more: he will not stop at these experiments that he presents to us today. He will always mutate, he will always try everything that allows him to grow, improve, create. Because creating, he knows, is not a matter of outdated routines but rather guesses into which the artist throws himself like a blind man off a cliff. From there is born the only possible certainty for art: from that foolish launch, which he never knows of preventions or ties.

 

No es cierto que Lara sea un pintor ecológico; no es cierto que en Lara lo fundamental sea el paisaje. En esto hay una engañifa capital. En Lara, el paisaje natural es un pretexto para el estudio, oblicuo, de la condición humana. Suerte de “Balzac naturista”, o de “Balzac macrobiótico”, a Lara cuanto le importa de veras es la condición humana.
Lara no quiere morir. Lara no quiere fosilizarse y por eso lo rompe todo, empieza de cero, mete el cuerpo, se arriesga siempre. ¿Qué otra cosa es la creación? Su pintura se ha abierto al espacio, se ha irradiado, ha conquistado el-más-allá-del-marco. Se rompió, de momento, el hechizo del ilusionismo. Lara venera “la cosa artística”, el valor de lo tangible, de lo mensurable, de la textura que excede ya la pasta dura y las veladuras de aquellos paisajes.
Quien conozca a Lara, personalmente, sabrá que él es un furibundo observador de la conducta humana. Primero de sí mismo. Siendo así, era ingenuo pensar que Lara se quedaría tranquilo con las conquistas de su paisaje. Es más: tampoco se estacionará en estos experimentos que nos presenta hoy. Mutará siempre, probará siempre todo cuanto le permita crecer, mejorar, crear. Porque crear, él lo sabe, no es cosa de rutinas añejadas sino de adivinaciones a que el artista se lanza como un ciego ante un despeñadero. De ahí nace la única certeza posible para el arte: de ese lanzamiento necio, que no sabe nunca de prevenciones ni de ataduras.