It could be said that anyone who considers themselves a painter, or defines themselves as such, knows perfectly well that they must position themselves in front of the painting according to the adoption—cognitive, sensorial, intellectual—of something that could be called a position, an angle of approach, a gaze that is both reflective and projective; something that could be defined in terms of discourse as a "point of view" but that exceeds the limits of conceptual and aesthetic reason to impose itself as a modest and personal experiential philosophy. At the same time, each artist contemplates themselves in relation to their colleagues, in a constant back and forth of harmony and discordance, as if the devoted adherence to this common endeavor were an unstable mirror reflecting their own physiognomy and simultaneously that of the other, each coming into focus and going out of focus alternately, according to the unpredictable dynamics of experience. Delfina Bourse and Mariano Benavente are, as is well known, fellow painters, as close in their personalities as they are opposed in their languages, where each body of work can be related precisely through a notable diversity. In this sense, the space's geography is more than ever a testing ground; a laboratory in transit where the viewer, and the artists themselves, are induced to detect, propose, and experiment with a new perspective from which to observe the mixed phenomenon that specifically occurs there. A situation where the two singularities that coexist conjuncturally generate a third entity equidistant between the two, training the subjective field in a kind of revealing perceptual equanimity.

Eduardo Stupía