Ricardo Pollman's paintings speak to the viewer; they almost shake the core of the viewer’s mind, as a persuasive peroration would. They are passionately conceptual and conceptually passionate. This brings about torn shapes and activities which develop different perspectives on the same scene, as though the pictorial space were insufficient to express everything these live characters have inside.
Pollman takes art seriously; in the beauty of the sublime when it is expressed openly; in the grandiosity of the human aspect of art; in the search for shared aesthetics, objective to the extent possible.
Pollman is like a modern aesthetics reformer, like in their time were the great masters of the Italian Renaissance, who continuously attempted to ennoble the humane in their highest, deepest, and boldest expressions, but who always acknowledged the canons of the beautiful which place subjectivity in the background in order to focus on “that” which is to be expressed. It is a conceptualism of expression–as opposed to a subjectivism which only captures ephemeral emotions—which merges form and content; emotion and color.
Pollman’s paintings do not provoke a loose feeling, an impression; instead, they speak with a well-built discourse from which one can learn a lot. They are like pictorial symphonies made of small details. Their expressivity exhausts the themes, but they leave the viewer with pending tasks to understand, assimilate, reorder, decode, and redirect the discourse. They are complete but demand something else from the viewers if they are to fully comprehend the message. It is an open language, smooth, yet too assorted to be grasped at a glance.