(2023) Mercè Vila Rigat

«I saw four angels standing on the four corners of the earth, holding the four winds of the earth, that they should not blow upon the earth, nor upon the sea, nor on any tree. »
Apocalypse 7.11

The prophetic, symbolic Language of the Apocalypse allows us to picture an image so rich as that of four angels standing on the four corners of the earth, holding the winds to everything remains in peace and harmony. This placid vision is, however, full of tension – how long will this peace last? Will the four angels be able to hold the four winds eternally? Evidently this present is finite and eventually the winds shall rebel and blow upon the earth, the sea and the tree, and the silent truce will be replaced by restlessness, nerves and thunder.

Something similar happens in Pere de Ribot’s paintings – flanking the angles of the painted surface, four angels hold the winds so they don’t blow upon the earth, the sea or any painted tree. This creates a landscape frozen in time, which will extend for as many seconds, minutes or days the angels can hold the winds. The artist decided to capture the precise moment before the calm disappears, which means that observing a landscape by Pere de Ribot allows us to enter a safe space and also connect with the most comfortable part of ourselves, where we feel safe from threats, anxiety and suffering. The painting becomes a haven, an enclosed scenario where we can stop without fear of being attacked.

However, if we step away from pictorial language, will we be able to just step into the landscapes inspired by Pere de Ribot? Is there a patch of land that can shield us beyond the apocalyptic mirage? The answer if painful – these mirages do not exist beyond painting. The artist did not get inspiration from a patch of land, did not look at a postcard, nor did he choose a forest in a map. Pere de Ribot internally created his own concept of ideal landscape and has learnt to paint it, tirelessly. He chooses a different colour palette for each new version of his landscape, often dominated by earthtones. Though, when the artist is living a joyful, replenished moment, he adds greens, purples or oranges, as well as dark blues and coral reds – all inspired by the latest series, deep within the ocean. The type of spaces can also vary – they may be open, wide and full of air, or small, close and full of greenness. Once in a while even a garden pops up – a budding idea, the seed for future works.

One can identify the covert presence of man residing, unseen, in these landscapes – the orderly disposition of trees, the crops–, a human presence that cohabitates and respects the scenery and is a part of it, like rocks or leaves are. This presence, camouflages among the trees, cannot be seen or heard because it has understood that, as long as the angels stand watch from the four corners of the canvas, its voice must remain silent, and must not disturb. The same happens with the non-human voices of rocks, trees and water, who have learnt to communicate with undecipherable sounds, but also to remain silent most of the time.

Only then, submerged in this visual silence, will we the public be able to speak to ourselves without interference, and then, no matter how hard the malicious winds blow, we will be able to curl up, let them pass and stay in our place.

Mercè Vila Rigat.
Art historian
May 25, 2023