Daniel Nave’s works – 1955 – explore a sentimental involvement profoundly ingrained in the intrinsic intimacy of the structures that shape the world around us. His paintings are a reflexion of both the exteriority and the interiority of the object perceived. This two-way insight lends itself to the observation of conceivable ethereal sceneries where the interiority of randomly hovering bodies unfolds above packed spaces. Or it can transform the buildings and structures into an oppressive place that subdues every single body. At the same time the exterior causes an effect of constraint it urges a look back to the most intimate nature of the bodies themselves. The focus on the body can thus affect the perspective the works are seen, how they grow - not just in form but particularly as a vision of the idealized outside. So as to understand how such perception effect is created let us characterize...interiority and exteriority, and how they are related.
By nature, interiority resides in all bodies. The interior is inaccessible and intangible. There seems to be a barrier that must be overcome before the interior is shown. Call it barrier, veil or shell, removing it from the affected body requires a deliberate act, which may implicate pleasure or pain. Embracing interiority possibilitates innumerable experiences; these have the unlimited freedom of the spirit of the bodies they dwell – in other words, their hospitality. They cease to be bodies imprisoned to predetermined edifices; they become now free instants floating above reality. The fluid misty romantic atmospheres of Daniel Nave’s paintings induce those fluctuating delirious states. Daniel Nave’s use of runny, transparent dyes and anilines disclose delicate and exceedingly enigmatic scenes, alluring the spectator to inviting landscapes. While spectators wonder across the scenes they lose themselves in their own fears and worries. The artist’s fluid sceneries may also mirror the exteriority they depict. Once exteriority is seen as what exists outside the body, what involves it yet is not part of it, those aerial areas - just like the spectators’ interiority - become their own exteriority. Even facing a desolate scene spectators will still relate to something close and familiar to them. In this sense, and accepting it is true that everything around corresponds to what we hold inside us, in other words, the interior and the exterior are the same entity, Daniel Nave’s paintings may evoke a loss of references; a loss of contact with reality, and with emotions experienced before. Nevertheless, it is a loss that implicates an urge to build structures anchored in steady, geometric webs.
Every painting by Daniel Nave is composed by seemingly architectonic structures which form webs and ruins; apparent edifices in construction, still simultaneously falling apart; frail romantic structures where moving from the outside into the inside becomes a combination mixed feelings and emotions. At a time, those passages are permeable and impermeable; penetrating and impervious. It is a dual movement between the accessible and the inaccessible which seems to give way to a certain rhythm – going around in an outer world and an inner world, something comparable to the act of breathing. The pace we breathe is dictated by what one is going through, how calm or anxious we are, in sum, it is influenced by the circumstances surrounding the moment it is taking place. Its pace is an indicator of how we feel, of our emotions and apathy, and this is what determines if we inhale and exhale faster or slower. In this perspective, the link between the interiority and the exteriority of the bodies in Daniel Nave’s works can be seen in light of the intimate sign of a construction in which what we see may as well be what we feel.
Hugo Dinis
March 2018
Entrada actualizada el el 27 mar de 2018
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