I didn't have the fortune of being able to try to Eusebio Sempere. I met him personally when he was already in the final process of their disease, just the sad day that he left his home in The Garden to go to your Onil natal, where he died a few days later. I didn't know Sempere, therefore. Certainly not with the depth that I would have hoped. I could only be with him for a few minutes. I have read, all the texts about his work and his person have fallen into my hands, or have pursued my hands. I've also had the luck of being able to know people very close to him. I have dedicated many hours to contemplate and dive into the mystery of his works, and his mysterious perfection. And, above all, I have searched for the privilege, and I've enjoyed the pleasure of living with them. I can assure you that is enriching and inexhaustible. Therefore, it is not from the perspective of the historian of the art from which I speak in this moment. I've always felt incomparably more attracted by living direct, daily art, art object, which by its history.

In their own texts, and the testimonies of other people who knew him well, and in interviews he granted, Sempere is shown to us as a personality extremely sensitive, but also strong and resolute in the face of adversity. Really, a little bit that we get into it, the life of Sempere appears to us as an accumulation of miseries and woes: the blindness of one of his eyes, the war and its disastrous impact on the family economy, the bleak academic environment of their years of training, the failure of his first exhibition, the hardship of his long stay in paris for what would have been Sempere without the moral support of Vasarely, Ard or Nina Kandinsky, without the company of Abel Martin?-, the return to Spain without having achieved the success he wanted so badly... and finally, when the life after so much effort by so he smiled, it appears the degenerative disease that first prevented him from painting and then ended prematurely with his life.

The unusual, even more so, what is admirable is that before any of these bitter circumstances, and in none of those adverse moments, the work of Sempere let transcend a single regret, a complaint. Does not deviate one iota from the path of euritmia unavoidable that there was a path. Sempere is the kind of artists capable to withstand a very harsh reality without arrojárnosla to the face. Put so much effort into not revealing his anxiety that, when you think about it, both wakefulness yours overwhelms us and reveals to us.

 As said Eliot, human kind cannot bear very much reality. All art comes to save of our reality, or at least enrich it, because it offers us as a new presence that gives us other truth, other reality. The work of Sempere satisfies, up to limits really unsuspected, our inescapable longing for other actually, the possibility of another, more harmonious life, high and full.

In truth, I don't know how to define this new reality that gives us Sempere. I can only point you in the art of Sempere there is nothing disturbing, overwhelming, nothing to remind us how painful of our human condition. Everything is mild, subtle, ethereal, weightless. It all seems light. Everything rises and rises without effort and with the highest aspiration. Everything moves, everything pulsates, rotates and oscillates, but always balanced, serene, peaceful, and pleasant. I don't understand music, but in my ignorance I seem to feel that all the work of Sempere is very close to her. The tremor of the lines -always so haunting and evocative, the vibration visual works -the effect on mohair that has been talked about, for example - may not be anything other than the representation of a sound vibration. The geometric shapes of the pure are attracted, touch, subtly -even by their sharp vertices!- and, far from hurting, in any case, meet, overlap and interact, transform, merge and confuse graceful and affectionate, are segmented and recompose so tranquil, without the slightest drama, or dance -with calm joy - in the space indefinite and unlimited of many of his works. Triangles, squares, ovals, circles now I remember the pythagorean music of the spheres, are moving in a leakage variations perfect and endless: the music music of his admired St. John of the Cross.

But make no mistake. A creation so seemingly rational -base geometric - like Sempere, is, on the contrary, others -and I would say that to opposite - orthodoxy mathematics of the artists-the so-called - constructive or geometric, if it is really such a product exclusively rational, but at the same time with art category, you can be. I think that Sempere came in sight, with Octavio Paz, the geometry, the strict geometry, is the prelude to the horror. Without intuition, without poetry, no art. Sempere, what he wanted to achieve, and got as anyone, is to capture the heartbeat of human geometry sensual -oh, and we have not said anything of the color!-, poetic, deeply spiritual, and, in short, in love.

 Sempere, Eusebio Sempere, I see all your work as a breath, an exhalation mystical. Sublime sublimity, if it is this pleonasm is more expressive.

But, can a plastic universe to be so balanced, so consistent, so self-sufficient, but at the same time so diverse despite the simplicity, and limitation of its elements, and, above all, so suggestive, so intense and so beautiful? Why seamless? Is it possible to achieve? -This question was, in the background, without realize then clearly, the final cause of my sleeplessness-. Now I know that yes. Fortunately, the art of Sempere shows us that yes. And he, with that faith, devoted and surrendered his life to it.