It is very difficult to describe pure pleasure, without having barriers to open or jump over, with a freedom to associate with what one finds in oneself and that which manifests itself from the senses. Yet it turns out to be easy to experience such a thing when you are with him, just as much as when he is creating as when he is simply receptive.
Ramon Vilanova can hold both attitudes. For the job at hand he uses the resources that first and foremost are offered by light, which is the force that gives life and then takes it – when light disappears and the mists return; which nevertheless, in turn, allows us to feel safe in the knowledge that, after the cycle of day and night, there will, yet again, exist another. … Very similar in essence, but profoundly different in its manifestation. and with that, he again feels secure to commence the search again, to go to the place where he knows what awaits him and to thank it because it allows him to express himself without any limitations but his own; of which he is aware and tries to overcome at every meeting.
The light of the sun is a phenomenon that science investigates and tries to explain. It is good that it should be so, yet what our painter feels through the light and what he transmits, consists of what we should really refer to with another name: light of pictorial knowledge. For this, he employs colors, which have a valid symbolism for all who look at them. some inter¬pretations can be different, according to the culture to which they belong, but it turns out to be easy, once acquainted with, to reach similar interpretations at the psychological level or, including, the mystical level of each person. The seven colors of the rainbow are the basic ones, but in truth there are infinite combinations and affective presences. For this reason, in the case of the paintings of ramon Vilanova, I would dare to say that an explosion of biological pleasure is produced, which transcends the ethical.
If we observe the intimate simplicity of each of ramon Vilanova’s canvases, we will see that in some way he wishes to impress on us not something that can be added to us, but explains the feeling of being an essential part of each plant and flower. When he recognizes their intimacy as essential elements of what is true, not only by what one sees, but what it really is. In each of his paintings there is – he is powerless against it and yet that is how he would want it – some of the facts of life that are as important as existence itself. It could be, if his will were other, to think about di¬fferent things, and try to synthesize them, but it no way does he desires this. Nature orders and organizes itself so that the silence in which life is apparently living, can express itself in each moment, according to what it produces, turning it into a chain of soulful events. There is not anything fixed, but a mobility born from the beating of the environment according to its own way of being and the fortunate meetings that happen amongst it. This is something that is latent and that, if we attend to the intensity of the brush strokes, we will know that it exists and that it will allow us the bliss of light.