From The Unknown Masterpiece from Balzac, Didi-Huberman developed the idea of painting understood as a plot that, similar to meat, presents a set of underlying elements or internal structure that constitute it and determine its appearance. Until the Impressionism painting was carried out by layering – an additive method that resulted in an image. When the pictorial process took other organizational directions, the latent rebelled against the ostensible, the internal against the exterior, placing itself, in many cases, at the same visual level. There was thus a clear exposition of that process in which the operations of the painter became evident, these taking on an aesthetic and dialectical dimension of the first order.
Thus, the works that he now presents Ruben Guerrero (1976) in F2 they seem to be the product of a plot whose ends are not eclipsed, which shows loopholes – and more than loopholes – of their search, of their formal, gestural and chromatic speculations. We could talk about an abstraction enriched by the accumulation of stimuli, ranging from the reflection of a diffuse reality -suggestive but indefinable- to a self-sufficient formulation, which does not require the verification of external reference. In this sense, it is very interesting to look at his drawings, since in them we find, separately, that polymorphic world which is then woven into his paintings: open compositions that breathe thanks to the easygoing freedom with which he conducts himself in the realization of his works.