The mystery of inexplicability. We reveal ourselves before the initial condition of being "per-secuted" by the unknown, looking without seeing an inexorable existence that is superior to our own village, something invisible that conceals our own reality. A reality that goes beyond the feeling of the heterogeneity of being, leading at last to the mysterious, in that being more than is inherent to man, sensed by the artist, known by the creator.
In the poetic attitude of José Cosme that conception is opposed to the contemporary idea of "nihilism", of that nothing of supersensible values or fictions, which purpose has been the devaluation of higher values. In this sense, the artist takes a communicative attitude towards the transcendent. A search for that Rothkian spirituality which was already present in "The Being of Man", and in which matter and color have given way to a work in which the "objec-tual" tries to get out of its image and move towards abstraction, evidencing the place of a present spirituality, which faces the return of the religious. Spirituality for which the modern subject, after the dissolution of rationalist certainties, now navigates through the sense of "inexplicability", of the patent passivity and self-destruction of contemporary man. Let us remember at this point his manifesto of the performance"The non exhibit", at the IVAM on the occasion of September 11.
But the work of Cosme is a poetic praise to the human being, a praise of love; it must not be understood as a denial. Faced with that poetic anguish in which the artist refers to the com-ing and going of the meaning of the roots, the historical traces of each individual, revealed through different footsteps, of different paths, of the created being in front of the dichotomy of being a creator, common to humanity. The footprint of the artist struggles resolutely against the shadow, against the darkness, seeking that common unity, to which we refer, to existence itself. A transparency of life and an ethic of recovery towards ourselves. However, his work as a whole must be understood as an encounter of our own experience through the artistic process.
The space-time absence transports the viewer around spaces through which his work trans-its. Only by having an attitude of acceptance towards the sacred, the man of our time could overcome its limits, since that fear towards the threatening transcendence through the tem-poral and linear discontinuity is recovered by an "original feeling". Metaphor in which the trace of man becomes a path of connection with reality, in a poetic aura of the subtle, of that dynamic of existence, far beyond from what our ordinary senses can perceive. To that other perception beyond the physical. Like the voice of the poet, far from physicality, in which love does not have a specific form, the artist brushes for a moment this divine world, now ours: with that wish that appears to be ours and wich is not even so. Faithful towards the end of the road, we advance with firm eyes in front of what has never been seen before.