Crossing Parallels

What entitles us to say regarding two trajectories — vital, artistic, professional — that they are parallel? In the realm of mathematic ideality, two parallel lines are those that remain equidistant to each other. But life, just as art, is a very different thing. Both life and art develop in routes shaped by deviations, laps and curves. If we could capture them geometrically in the form of lines on a paper, it would be impossible to find two — lives, artistic paths — maintaining the required equidistance throughout their whole extension. Some stretches would increase the distance between them as some others would bring them closer in a constant turn to obliquity. This is the condition of every approach to parallelism in the actual world. Natural or artificial, real or metaphoric, there is no pair of lines suitable to be strictly declared parallel. Not either a pair of pencil strokes, no matter how precise the execution is. The unavoidable irregularity prevents it. And, nevertheless, some do appear as if they were when we, voluntarily or not, look at them from afar passing over the details.

Again and again we draw on the notion of parallelism to make physical reality more comprehensible. Human experience too. It’s not only useful: we need it. In this aspect, as in any other, we spend life alternating close and distant looks, taking advantage of what each of them can offer.

Thus, a distant glance at Juanan Soria and Ignacio Estudillo’s trajectories could mix them up. Shared training, cohabitation, stays in the same institutions, classical influences, figurativism, will to beauty, sense indeterminacy. For a closer look, however, it would become clear that they are two journeys instead of one, though very alike — identical we might say — like two parallel lines on a sheet of paper. But a more attentive look — an even closer one, perhaps thorough — would come to a myriad of choices and contingencies generating particularity.

Juanan Soria (1985, ES) with his pencil, giving coexistence to real and fictional elements, getting inspiration from Greek tragedy imagery, compounding critical sceneries, analyzing disproportions in our world, recycling the eyes of the past to make up a new gaze .

Ignacio Estudillo (1985, ES) painting, combining tradition, narrative discourses, the BANG! of advertising style, scientific analysis, reacting to his own experiences, creating fictions that are reflections, constructing visual language atlas, playing, exploring.

Looking at one another in continuous influence and discussion, moving away to approach again, approaching to move away again. Now, in 31 square meters, confronted, they offer their dialog of differences and similarities. Two parallels crossing. For art, as life, is made of irregularities.

Efrén Poveda