In his practice as a graphic artist, painter and photographer Jesus Alberto Benitez makes use of a conjunction between the aleatory and precision, a cohabitation between accident and firmness. The atonal pieces are suspended in space and punctuate the context they are exhibited in. The artist delivers his message in a straightforward way, although the line of the drawing seems to hesitate, the installation seems to be on the verge of disappearing, photography on the verge of abstraction or painting on the verge of obliterating an attempt; the technique and the tool are gone against, as if to deliver the essence of a gesture from them. Obvious studio gestures, the works of Jesus Alberto Benitez question matter, physics and space.
The paintings on plywood or on photo-sensitive paper depict human activity that is surreptitious and restrained. Traces of fingers in white acrylic paint, spray, adhesive tapes, black ink: rudimentary materials that through their simplicity question the contemporaneousness of the image and emphasize the protocols of production. Equally precarious and ephemeral, the drawings and wall pieces hung up succinctly (using adhesive tape) extend and emphasize the unfinished state of the line and deliver the obvious fact of the image. As for the photographs, close-ups of the places and tools from which his works emerge, they are a suspended revelation of the artist’s skill.
In his work, Jesus Alberto Benitez scrutinizes inscription, however minimal, as close as possible to its source: a trace of activity.