La tabla optométrica para la sociedad del "tienes que tener"
© Ilkhi, 2019
When I looked at the series of six paintings from 1952, which all include a yellow cloth and were hung together in one room in the gallery, I felt as if the canvases were having a mute conversation with one another. The white fluted bottle, its ridges less evident in this series than in some of the other paintings, remains as an anchor on the right in all of them. The striking yellow cloth remains front and center. The cup and cylindrical vase are constant anchors on the left. What changes is the object between the flanking white bottle and vase. A brown form, described as a basket, is substituted by a green bowl in others, the hue of which changes dramatically between two canvases, from dark green in one to a much yellower tone in the other. In these two canvases, there is an additional object, an extendes cylindrical white form that appears behind the white bottle. In the series, the shifting happens in the space between white objects, from one brown to another, from one green to another. It made me think that Morandi was exploring between-ness itself, asking what constitutes a border. In the canvas with the paler green bowl, the bowl seems to tip upward. Its edge behind the white cylinder is outlined in a deep gray, which continues downward to divide the yellow cloth and white cup, a fine dark line of distinction that is nearly erotic in its closeness. After looking for a while, I found this darkness between cup and cloth obsessively interesting, more interesting than the objects themselves. (La negrita es mía)Siri Hustvedt va desde la écfrasis a la hipotiposis a través de un puente que construye literariamente y que sirve para salvar el abismo que separa a las palabras de los objetos, y lo hace dejando una huella vívida en el/la lector/a.