Sombra

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Carne Líquida / 2017 / Caderno A5 - Grapa / 24 páxs. / B/N (portada, interior) / Mute

* english below

"Sombra é un caderno pequeno de 20 páxinas, no que Brais Rodríguez aposta por un estilo moi sobrio, en plumilla a branco e negro coa que crea as súas texturas liña a liña. Ao reiterar una mesma reixa de tres por tres viñetas -o modelo clásico dos cómics sobre crimes de Bernie Krigstein– sempre recheas de planos enteiros, a súa posta en páxina tende a devir transparente. Esta transparencia reticular provén orixinalmente da tira de prensa, que conformaría algo semellante a unha frase ou proposición, un mecanismo que o autor segue inicialmente a machada.

Neste punto Sombra garda un certo aire de familia cos autores franceses de L’Association aínda que aquí o humor físico é substituido por unha trama simbólica envorcada no misterio.

Esta trama simbólica de fondo remite en Sombra ao mito xenético do cristianismo: a caída, expulsión do Edén e subseguinte condena ao traballo; aquí exposto a partir da sabotaxe dunha relación sentimental por un empresario de silueta colombina, escuro demiurgo secundado por unha parella arcanxélica de camorristas.

Esta separación amorosa é, ante todo, de lugares: a casa, seo primeiro da feliz parella e logo da muller solitaria; o bosque, praza forestal de tránsito en perigo, e esa cidade mineral, centro anónimo do desempeño profesional.

A sombra cazadora, aquela que persegue a nosa figura, asédiaa e ameaza absorbela, brota neles desde fóra de campo para vagar cinematograficamente escindida do seu corpo. Con todo, o naturalismo diexético, narrativo, que impregna Sombra contraponse a unha constante posta en abismo da representación pictórica, a mímesis. Os repregamentos entre as figuras e a súa recreación gráfica por parte do protagonista -o mesmo pintor- son constantes: a serpe que sae do cadro na parede para roldar unha habitación, a súbita inmersión do espectador entre as pinturas dunha galería de asasinatos ou, viceversa, a nosa expulsión da viñeta ao repousar esta na seguinte sobre un caballete de artista. Sortilexios que culminan cos inquietantes movementos oculares no cadro do negro rostro de Sombra, que cobra vida. Este é o seu contorno, a arte vinculada á tensión entre dar a vida e a morte, entre a póstuma traizón do noso fundamento escatolóxico e a vaidade reprodutiva como foxe cara adiante, finalmente, entregada á traxedia do eterno retorno" - Breixo Harguindey (13 Millones de Naves).

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Carne Líquida / 2019 / A5 Notebook / 24 pgs / B/W (cover, inside) / Mute.

The result is a 20-page booklet, Sombra, in which Brais Rodríguez opts for a very sober style, in black and white pen and ink, with which he creates his textures line by line. By reiterating the same grid of three by three vignettes - the classic model of Bernie Krigstein's crime comics - always filled with whole planes, his page layout tends to become transparent. This reticular transparency originally comes from the press strip, which would form something similar to a sentence or proposition, a mechanism that the author initially follows to the letter. On this point, Sombras has a certain family resemblance with the French authors of L'Association, although here the physical humour is replaced by a symbolic plot based on mystery.
This symbolic background plot in Sombra refers to the genetic myth of Christianity: the fall, expulsion from Eden and subsequent condemnation to work; here it is based on the sabotage of a sentimental relationship by a businessman with an aquiline silhouette, a dark demiurge seconded by an archangelic couple of rowdies. This amorous separation is, above all, a separation of places: the house, the bosom first of the happy couple and then of the solitary woman; the forest, the forest square of transit in danger, and this mineral city, the anonymous centre of professional performance. The hunting shadow, the one that pursues our figure, besieges it and threatens to absorb it, emerges in them from outside the field to wander cinematographically detached from its body.
All in all, the diegetic, narrative naturalism that pervades Sombra contrasts with a constant abyssalisation of pictorial representation, mimesis. The folds between the figures and their graphic recreation by the protagonist - the painter himself - are constant: the snake that emerges from the painting on the wall to prowl around a room, the sudden immersion of the spectator among the paintings of a murder gallery or, vice versa, our expulsion from the vignette as it rests in the next one on an artist's easel. Spells that culminate in the disturbing eye movements in the painting of Sombra's black face, which comes to life.

This is its contour, Art linked to the tension between giving life and death, between the posthumous betrayal of our eschatological foundation and reproductive vanity as a flight forward, finally given over to the tragedy of eternal return. Breixo Harguindey (13 Millones de Naves).

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