With this title I would like to underline the apparent contradiction that can occur in today's art, to clarify immediately that every art is abstract - it has been throughout history, except for some moments of decline, until the Renaissance , and all abstraction is, in principle, something real. We also know that in order to penetrate what may exist - in the depths of reality - before reaching the last vacuum, we have to deal with the surface. The depth is on the surface, but someone said. We can not save ourselves from looking at our eyes, until it's time to do it with the whole body and soul - and I still use the words to understand ourselves and not to understand them, as Master Carles said Riba.

The point is that I want to refer to the work of an artist who knows how to look and see, and that capacity becomes the act of painting - the painter does not look and see and then paints, but everything is produced at the same time . The fruits are these paintings in which the author focuses his attention on the human body, which takes a deep symbolic meaning. All the works form a set, by the subject and by its treatment, and when we enter in their contemplation and we are going from one to the other we verify the
differences and autonomy of each one.

To qualify this art we can speak of sensibility, but only with sensitivity can not art. We can also talk about feeling, although sometimes using this word, like many others, creates confusion. And we could talk about different attitudes, but I would love to say more than Jordi Isern, because as you know this is the name of this extraordinary artist, he opens his ability to create everything, in a work of great depth. What he is, what he knows and what consciously ignores, the emerging part of the iceberg that is the psyche, and the submerged part are those that come into play and act.

I could not say much more. The deeper and more revealing is an art, the harder it is to talk about it, and that is something the critician well knows. I have been contemplating all these paintings, and every time I have felt more imbued in a world that was the only world. This I think is what the artist must achieve: that the work he creates becomes an entire reality. Needless to say, it's a difficult company, but when we look at the work, when we enter it, it seems natural, almost easy.

We are faced with an ambiguous world. Ambiguity is necessary in the best art. The reality, the things, can not be clear and different if they are observed with penetrating glance. These paintings tell us about bodies; but the body, seen with the depth of which he spoke, is a symbol of the cosmos, and the same cosmos is a living being, and there is a mysterious relationship that unites them and comes to melt them. These bodies painted by Jordi Isern have an intentionally limited range: ocher, toasted, gray. The shapes emerge from an obscure bottom that could make us think about the primordial chaos of where life comes from. Inserted in the bodies we see some signs, graphisms and yet some words, often illegible. We focus attention on the work that all this implies and we imagine time, patience, mastery of technique and, of course, the wisdom with which Jordi Isern has done these works.

Everything is submerged in the mystery: from these bodies and from these works a certain glow emerge, the oaks, toasts and grays overlay or, in some cases, are invaded by the target; but darkness also penetrates, remembering that life is somewhat precarious, that human beings, like any other being, have something ghostly. Without losing, however, his lively, shining and marvelous character, which the artist has been able to reflect on.

J. Corredor-Matheos