The theme of abstract painting today is fascinating because each artist needs to create their own language, since after the collapse of the great historical narratives, especially modernism, the representative possibilities are endless. Abstraction can be taken, as the American art critic and curator Bob Nickas (2014) maintains, as an antidote to the fast-paced world in which we live. A world that bombards us with daily floods of images, which leads us to a growing visual monotony and an increasingly processed art consumption lacking in content. It is in the midst of this visual maelstrom where languages like Jorge Nava's resist, inviting us to stop again before a work of art, to think about it and discover its entrails.
Echoes of the first abstract expressionists seem to have helped this artist to determine the subtle and ethereal limits of contemporary art, inheriting from them that innate desire for experimentation. His painting, which is born from the gesture or rather from an impulse of his whole body — is a kind of continuum; a genuine and mystical aesthetic process in which the perceptive is constantly mixed with the purely emotional. I think that's why these languages have always been compared to music, among other things, because of the abstract elevation of said medium. However, the subtlety of poetry, or the influence of nature itself, cannot be left aside in his work; understood the latter as the energy that balances the order and chaos of the universe, and that in his canvases, we see reflected in his characteristic games of chromatic forces. It is, therefore, the field of the mystical that best and most clearly defines his creative drive, his way of doing things and the prism with which he forges both his work and the experience he hopes to evoke in his viewers. And it is on the border between fantasy and truth — where the struggle of these “counterworlds” becomes visible in which each of his works is revealed to him, almost by instinct.
They expect us to understand the representative purity for which the artist strives, although to achieve this we first have to get rid of the thick chains with which we corsete what we understand as reality. We must see Jorge Nava's painting as an extension of his perception, the expression of an emotional territory to which we can
access because the first thing he has done is to separate it from himself, and with it, he makes the visual representation a universally perceptible space.
Thus, a painting is born that can be its own subject. A world that slowly unravels over time and that may not be exactly the same for all of us, since it defends a spirituality for which there are no materialist detractors or religious exegesis; but pure and simple visual perception focused through an abstract lens.

Oscar Manrique.