The existential mash-up of styles (hyperrealism and graffiti, the classical and the lowbrow — everything in between) continues for Ronald Ventura in his painting titled "Grayground." Here, we are presented with powerful forces represented by horses in mid-stride going in opposite directions. A white thoroughbred and ghostly horses going right; a couple of skeletal, muscular, shadowy others going left. What lies between (well, all over the place, actually) is the chasm, the void, the gray area, mere anarchy and its happy riot of robots, dog-men, disembodies figures, cryptic texts and menacing doodles. Two red-and-black lines emphasize and (pardon the pun) stress the tension, how — to steal a line from Yeats — the center can no longer hold. For the artist, this is what happens when two realms go on reverse: a hole is dug up and all hell breaks loose. What could those two forces be? Therein lies the mystery. There's a lot of fun in guesswork. We could say that we as viewers are confronted with how art is. Two forces (a multitude, to be precise) go into opposite directions, leaving a big gray empty lot of possibilities where nothing is real and everything is permitted. Is that abandoned area or that lack created by two forces of art still art? No matter. This is where the wicked party is. This is condition un-clash. This is Ronald Ventura's nihilistic playground.
- Igan D'Bayan
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