Malevich used to say that each painted flat surface transformed into pictorial relief is an artificial sculpture and that all relief, transformed into a flat surface, is painting. I like Sbarbaro's work because he assumes Malevich's inheritance.
But Sbarbaro could be grandson or nephew, a member of the family or a student of Torres García, because he comes from Montevideo because he builds the space, because he has managed to create a new synthesis between this "other-sea" and the Mediterranean one. For Torres García, the great Uruguayan-Catalan dream builder, an artist must confirm the primary importance of a structure that must be clearly oriented towards the simplicity of elements, towards the search for balance, for unity; for him the visual artist is first and foremost a builder who must give a vision of rhythms and sounds, geometry and plans. Sbarbaro, who has not met the imaginative constructivist, has the School of the South in the blood. But his mission is another. His constructivism has that rigor of the distant master, but it is above all fantasy.
Sbarbaro has discovered the Mediterranean, he has adopted it and totally appropriated it; he has made it his own by interpreting it with lines, and often with only one. Cadaqués are boats and landscapes, houses, lines, colors, especially the white, the blue of the sea, the ocher of the earth, the gray of fog, the black of burned mountains. But now there is a Cadaqués by Sbarbaro, an horizontal bar, the line of a house, the horizon he imagines. Sbarbaro's paintings are paintings and sculptures at the same time, boats speak, landscapes move. His small works are great, the big ones immense. He belongs to those few who can define the universe with a single line; and in fact he does.
It seems simple to play with two pieces of cardboard or wood, with a line that seems to move by itself. The difficulty lies precisely when the apparent simplicity of a painted stroke, unconscious fruit of long, continuous and deep meditation, leads the line to follow a definite path in space and to translate it concretely - and spontaneously - to the canvas, wood or paper.
Sbarbaro's studio in Cadaqués is full of maxims, notes, lines and illusions. There, Sbarbaro builds a universal future in Catalan mode. The landscape does not betray and Sbarbaro interprets it with emotion, speaking Catalan, watching the sea. The master of constructive rigor said: "A surface that is not organized is not capable of moving or impressing anyone." Sbarbaro, who does not paint like Torres García, conceives the painting as "A plane, a line, a window in space, a sea of solutions and illusions to share, to capture on a canvas."
If Sbarbaro had a mission, he would fulfill it in painting. And in fact without knowing it has done it. It seems as if he was convinced that the sea full of boats that separates continents could unite us again. To do this, he builds a mental world with rhythms, tones, geometries and planes. But where Sbarbaro is big, huge, and where he surpasses others, it is in the use he makes of the line, a painted, constructed line, an infinite line, apparently continuous, concrete, that reveals an ever present optimism and becomes a powerful line. “Un-painting"