Ambivalence or the game of opposites reaches into the universe itself, that immense universe that frames or serves as a background for his compositions, the one that struggles to be infinite while hinting that perhaps it is only a marbled horizontal surface, or a covered table. of bread crumbs.
His work pursues the macro and the micro at the same time. It is not about lack of definition, but about the conviction that everything is one. Here art has the power to allude to big questions starting from elements that pretend to be harmless. This apparent economy of elements poses a feigned simplicity, since his proposal appeals to the complex, to the sophisticated gear of the functioning of the world.
Lajarín wants the viewer to stop at signs that usually go unnoticed, almost like what Walter Benjamin called the “optical unconscious”. From this perspective, his work is framed within the limits of the representability of the impossible, of the emergence not only of showing what somehow seems hidden, but of trying to give an intimate and personal version of the world, generating another to the world. at the same time where you can experiment with multiple forms, in line with the proposals of the philosopher Nelson Goodman. His painting is not only a testimony that registers the traces –as a material part of the evidence–, but a symbolic expression in which to reveal what, in principle, cannot be revealed. For this, it uses elements that are obsessively repeated (stairs, windows, ropes, wood, vessels, brick walls or universes), symbols that hide something mysterious, almost magical, interpretable from infinite angles. He conceives unusual and enigmatic spaces with their own language, which he endows with a strange familiarity by reiterating those simple principles.