Now we can say: in Girona, there will always be a “before” and an “after” of Fita, as there was also a “before” and an “after” of Torres Monsó (to cite another prop located very well to the antipodes of what he has just left us). We are talking about a split, in any case, not so much in the artistic field (art would become one of the most global human productions) as in the human field: “bonhomie”, which is an obsolete adjective, it is what characterized both figures, a bonhomie that, in the case of Fita, adopted the most genuine of its versions, that is, that of the kind simplicity of the master who, without underestimating any sensitivity, tries to activate that intimate form of desire that, in the long run, becomes knowledge.
We say this so that whoever did not know Domènec Fita (and for those who will never know him) could be shocking the incessant activity of someone who was about to join the select club of centenarians and, even more, the insane research of an artist who did not reject formats or procedures (even digital!) when it comes to making their very particular universe visible. Those who knew him, on the other hand, already know that his pictorial “moments” were exactly that, more or less singular chapters of the graphic history that this Girona native never stopped expanding (with controversial episodes and brilliant moments, of course could be otherwise).
In any case, any approach to the aesthetics of Girona should take into account the marked pedagogical character of a creative adventure that, to understand us, was built as each research of the master could be communicated. In this sense, it is important to emphasize what Fita’s didactics was: like Socratic Maieutics, which argued that the discovery of truth was comparable to a kind of part that had to be induced through what would later be called doubt. methodically, the artist from Montjuïc knew that it is necessary to listen to let people speak, that the aim is, in the last instance, to direct subtly enough to those who want to be instructed to avoid precipices but, instead, keeping intact the possibility of all the implicit risks and benefits, the individual path.
And what is this “individual path”? So, in his case, what would come given by flirting with the possibilities of form and materials. No more and no less: he has left us a great sensualist.