Juan Lascano, pintor de la luz

Juan Lascano, pintor de la luz

Juan Lascano, pintor de la luz

Maestro del realismo, de reconocimiento que supera nuestras fronteras, vive desde hace algo más de un lustro en Bariloche, en una estupenda casa-taller con una maravillosa vista al lago Moreno con el cerro López como telón de fondo. Próximo a presentar una nueva muestra en Zurbarán de la calle Cerrito, pasó por Buenos Aires a fin de ajustar detalles y nos regaló parte de su tiempo para conversar con Vinicius.

“No podría asegurar que encontré mi lugar en el mundo, pero sin duda Bariloche es un lugar muy especial. No solamente por los paisajes que ofrece sino sobretodo por el ritmo con que la gente encara la vida. Tal vez sea porque importa menos la cuestión económica, a menudo resuelta, o por la relación más estrecha con la naturaleza, pero noto que se respira un clima de paz. Hay tiempo para los amigos, para la música, para la contemplación, e indudablemente uno se predispone y enriquece en su creatividad”, desarrolla Lascano

Pero no es sólo en los últimos tiempos que su temática incluye el paisaje.

No, aunque la gente me reconoce más en los bodegones, o a veces en mis desnudos, pinto paisajes desde siempre. Mi principal preocupación es la luz y en ese contexto el paisaje es, a la par que una fuente inagotable, un inmenso desafío. Tengo dibujos de caseríos de mi época de estudiante en España, óleos de las sierras de Córdoba de la década del setenta, cantidad de playas de Cariló, el jardín de mi vieja casa en Martínez… Generalmente son obras no muy grandes, esto porque con el correr de las horas, la luz cambia y el cuadro es otro. Además, como siempre pinto del natural, muchas veces el viento me impide bajar del auto, y entonces atraso el asiento y el volante se convierte en caballete.

¿Cuánto tiempo le toma un cuadro?

Días pasados leí que a Lucien Freud, que acaba de morir y a quien admiro, cada obra le tomaba muchísimo tiempo; también Antonio López (el gran realista español) es de producción lenta. Mi caso es todo lo contrario: Es algo que no debería decir, porque la gente los ve y piensa que son elaborados, y que me paso horas y horas, pero en realidad pinto rápido. Para mí, una sesión de pintura de cinco horas es muy larga.

¿A quién más admira?

De los artistas clásicos, sin duda a Velázquez, fue mi verdadero maestro. Cuando estaba becado en Madrid, pasaba mañanas enteras en el Prado estudiándolo. También a Goya, Zurbarán y a El Greco. Más tarde, Rembrandt, Sargent y Tiziano influyeron en mi obra. Más acá, el chileno Claudio Bravo (que también falleció este año) cuenta con mi admiración.

¿Cómo aprendió la técnica?

Raúl Rivera me enseñó a mezclar los colores, también tomé clases con Julio Moisés y el catalán Vicente Puig, aunque debo decirte que mi mayor aprendizaje fue producto de las lecturas y la experimentación propia.

 

Desnudo sobre fondo

 

Diría que hoy es un realista, ¿siempre lo fué?

No, hice muchos experimentos abstractos, surrealistas, cubistas, pero me aburren. Me encanta pintar lo que veo, o sea que parto de una fascinación personal, esa es la verdadera musa. Mi norte pictórico es el juego de la luz, cómo la luz nos muestra la realidad, entonces me da lo mismo pintar un cacharro, una mujer o una flor, lo importante es cómo la luz me muestra la cuestión física, ese pedazo de realidad. Mi mayor satisfacción es cuando logro aproximarme a aquello que veo. Mi ambición sería poder mostrar con precisión, con potencia, la forma en que yo veo al mundo, me voy acercando pero es una larga carrera.

Volviendo a su temática, generalmente su reino ronda alrededor de los bodegones…

Sí, atrapan mi atención los objetos sencillos, cotidianos, porque van adquiriendo con la luz una magia profunda y esencial que les otorga cualidades arquetípicas. De ahí mi pasión de siempre por el bodegón, ese conjunto de sobrios cacharros y paños blancos, que junto a panes y frutos me reclama largas horas de concentración.

¿Qué va a mostrar en su exposición de Zurbarán?

Es una selección de trabajos de los últimos dos años. Hay desnudos, paisajes, y por supuesto bodegones. O, en realidad hay un único tema, la luz.

Vinicius • Edición Nº 20 (2011)

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