“It is not possible to dive into the same river twice, touching mortal substance in the same state twice,
because energy and speed change, they disperse and regather, they appear and disappear.”
Heraclitus
With the meticulous attention of a sniper who completely inhabits his isolation, Vidal Font tackles the symptom as well as the map of modern illness; the nostalgia for the impossible which is the subject of every individual reconsidering the unseen. The edges of beauty have been chipped convulsively, before the oscillating classification of the context. Here, superseded Ideas of the relation that joins the cannon fodder with their executioner are configured. He transmits the distortion of the dispersed sign, the futility of language, the servitude in vogue, the law of the jungle, woman’s use as a display accessory, excessive consumerism, purchasing power and its effects, but in doing so, he transmits the steep descent towards the heart of the things.
The monument-inspired reality of a fragmentary speech is a disturbing proposal, adept at creating a collision of scenarios where life breaks up. This is the background music to the loss of borders imposed by the yoke of daily routines. It may seem that in Vértigo Universal there is a sideway look towards a time that we await, but we got old before it happened.
Vértigo Universal shows a scenario of an object through tearing paper; it operates through a join that unfolds an unexpected nature, and the implied vortex of its composition. There is here, a re-reading, a double meaning and a presentation of a reality disrupted for the same reality. “The eye altering alters all”, affirms Yeats, the sniper’s eye is mordant and caustic. It aims to contrast meanings and materials, towards the destiny that the objects possess in spite of our appropriation and their conjunction in our daily life. Thus the phenomenon of that accidental encounter of a sewing machine and an umbrella upon a dissecting table, comes back blurred to the delight of the skeleton fitted over our flesh, but above all, for the sniper’s joy at shooting into the river of unceasing changes.
Jean-François Lyotard, La posmodernidad, Gedisa, Barcelona, 1996.
