Luís Coquenão (Lobito, Angola, 1953) is a Portuguese postwar artist. His work was featured in several exhibitions in key galleries and museums, including the Mario Sequeira Gallery.
Luís Coquenão's painting shares many things with Tarkovski's cinema. The viewer has to let himself be carried away by the image, dissolve in it, fall into it as one who is lost in the depths of a haiku. It is about making the most of the poetics of the image as an observation and that ability to transit or approximate the different scales. It is the image as an abyssed field, as an impossible revelation. They are places where absence works, images that embrace the sense of loss. There is no way to access the mystery, because any form of approach effectively means a departure.
Luís Coquenão understands painting as an act of time, extremely weak. The image unfolds its own time and for the viewer no image is captured in the first glance. Play yes with the margins of vision and fragments, with disorders, until reaching an interesting state of 'suspension'. In a way, the landscapes of Coquenão are also consumed, eroded until they become definitive, precisely when the void becomes an active entity. What is depicted, in fact, is the distance, which is given to us as a moving vision, which sometimes drips and sometimes runs off, but which in any case always collapses.
Luis Coquenão has always worked on fragmented stories, like someone who doesn't want to tell us anything so that we ourselves, as spectators, give meaning to what is seen. First, from female figures, with a fragile appearance, which was reinforced by the ascetic and aseptic aspects of their settings, thus accentuating the prominence of their figures. Now the mystery continues, but he transfers it to the landscape, to the unspeakable of a more Zen painting.