El “Movimiento” de Skrap en Neza

EDUARDO SUÁREZ |

Nezahualcóyotl, Méx.- El viejo reloj marcaba las dieciséis horas cuando levanté la mirada de La Tabla de Flandes y mi mente confusa por el tiempo recordaba que la cita para la inauguración de la exposición pictórica Movimiento, de Jonathan Martínez “Skrap” era a las cinco con diez minutos en el Centro Regional de Cultura Nezahualcóyotl (CRCN), alguna vez presidido por la pintora oaxaqueña Susana Velasco.

Ubicado en uno de los pulmones sobrevivientes de la Ciudad Monstruo, Cuemanco, apresuré los trámites con mi esposa: le di un beso profundo y le dije en tono tierno: “salgamos lo antes posible… me equivoqué en la hora, me acaban de mandar un mensaje de no sé dónde; la hora en mi mente estaba equivocada…”

Me miró falaz, pero en unos minutos estaba lista con cámara en mano y dispuesta a cruzar el oriente para llegar a “Nezayork” para ver cómo se plasman “las tradiciones mexicanas desde la época prehispánica hasta la contemporánea”.

El tráfico, pintura que ilumina bestialmente a los defeños, atestaba Periférico y los minutos transcurrían como agua en un río sin poderlos detener. Los labios de mi dama versaban los versículos de Deepak Chopra quien hablaba algo del universo circunscrito que yo no entendía, mientras los semáforos y uno que otro automovilista mutaban en mis peores enemigos y me hacían pensar cómo la pobreza y la opulencia se conjugan grotescamente en esta capital.

Llegar a la Cabeza de Juárez fue una odisea: mirar con indulgencia a un limpiaparabrisas a quien cinco pesos se le hizo poco por ensuciarme más el cristal; comprar un dulce al niño de la esquina para que su verdugo lo siga explotando; mirar cómo le robaban a una señora su bolso; observar el arte del oficio en todas sus versiones…y recordar cómo “Skrap” había podido superar a su maestro cantero chimalhuaquense, Hugo César Nájera, hasta ganar la edición de la Feria Metropolitana, Cultural y Artesanal de Chimalhuacán con su pieza Temachtiani (del náhuatl “el que enseña lo que sabe”).

Rememoré cuando en el 2011 platiqué etílicamente con Jonathan en una pulquería tras visitar la casa-taller-museo del maestro Nájera. Hugo, Emiliano y dos primitos de “Skrap” hicimos una tertulia dónde las moscas, el pulque, la señora y su hijo borracho fueron testigos de sus palabras: “en el cerro de Chimalhuacán todavía se encuentran piezas olmecas de barro cómo si naciesen de la tierra para mirarnos…” Ya preparaba entonces el mural de la escenografía del Teatro del Pueblo.

Al cruzar avenida Zaragoza y ver los ríos de automóviles que salían como de los cerros, una intensa lluvia nos hizo más ameno el camino. Mi mujer seguía con Chopra y decía que deberíamos estar más conectados con la naturaleza; no ser un ego, sino parte del todo para alcanzar la libertad. No lo dudé.

Más bien pensé en lo que platiqué con “Skrap” acerca de su exposición que engloba la forma en que percibe en la pintura el movimiento y la transformación, sin duda, por medio de la influencia del cinetismo.

“Recordar cómo fue mi infancia, adornada coloridamente con los juguetes mexicanos, como los Trompos, Yoyos, Rehiletes y Papalotes —nombres de algunas de sus piezas—. Cómo un objeto [permanece] estático hasta que tú lo agarras y lo manipulas; provocas muchos sentimientos y emociones con los colores que conforma”, rememoró.

Por la López Mateos llegamos a la roja identidad de 45 metros de altura que construyó Sebastián por medio de una escultura de 298 toneladas llamada El coyote hambriento, ubicada en la glorieta de la avenida Pantitlán, cruce con la López.

La lluvia se apropió de las calles como si quisiese que todo regresara a su anterior estadía, cuándo las tierras salitrosas y el ajolote dominaban el oriente de la zona metropolitana dónde los movimientos contraculturales o alternativos han tenido demasiado auge.

Al llegar al centro cultural me encontré con los pintores Guillermo Ramos, Martín Cuaya e Ismael Ponce, con quienes platiqué los vericuetos del arte en México… exposiciones de los necenses en el Banco de México y la Fiesta del Mezquital… para después ver cómo, junto a Jonathan y Arturo Ortiz, director del CRCN, cortaron el listón de inauguración.

“Esta exposición es importante porque es parte de lo que he podido realizar como artista en ocho años. Son 25 piezas que pese a que son difícil de conservar, se venden; están aquí en mi segunda exposición personal”, dijo clara y sencillamente Jonathan Martínez, quien en sus inicios artísticos fue grafitero.

Sus esculturas reflejan el movimiento de los cuatro elementos: viento, fuego, aire y agua; retoman temas prehispánicos como el comportamiento corporal de los acróbatas y contorsionistas olmecas que aprendió de figuras de barro.

Mientras los niños, señoras y hombres de todas las edades observaban recordando, tal vez, su infancia cuando se divertían con esos juguetes que poco a poco las tecnologías han hecho olvidar, “Skrap” me explicó que su cuadro Quetzalcóatl, refleja cómo en los templos les inculcan a los niños la visión de la religión:

“Por eso hice la interpretación de Quetzalcóatl con el caracol cortado y la cruz que representa a Cristo, los cuales son símiles. Si ves, tiene esa estructura del caracol cortado, de la espiral, la cual se ve reflejado en toda mi obra, por influencia de mis raíces prehispánicas”.

Antes de irme, Martínez Aquino me dijo que pese a que muchos críticos lo tachan de folclorista, él sigue pintando lo mexicano y lo prehispánico; si dicen que no me puedo desembarazar de ello, lo siento, afirmó, son mis raíces y a la gente le gusta.

Antes de que la lluvia comenzase de nuevo salimos contentos con un clericot en el estómago papaloteando para regresar de nuevo por dónde venimos… pero llenos de color y buenos recuerdos… repensando los matices de la cultura popular y los vericuetos de la historia del arte.

Movimiento se expone en el Centro Regional de Cultura Netzahualcóyotl, ubicado en 4a. Av. esquina Francisco Zarco, colonia Virgencitas, ciudad Nezahualcóyotl.

| RMM | ES | @eduardo_surez |

Fotografía por Zoila Juárez

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