Experimental series in acrylic and oil on canvas with a clear non-figurative vocation and a chromatic palette already delimited from the beginning but that gradually ends by disappearing
in favor of maximum expression with minimum elements of the serie «Olas» to the canvases «Azul» in which, color is the form, and the paint, reflected light, begins to talk about itself.
The line is a form generating forms, painting and drawing
are the same, repetition «expresses at the same time a singularity against the general,
… a remarkable element
against the ordinary,
an instantaneity against variation, an eternity against permanence …
Repetition is transgression. It puts the law into question »
(Gilles Deleuze, Difference and
Repetition 1968)
Material and formal limits of painting have been displaced, the concern is focused on shadows, the trace of light and its potencial as a generator of forms.
Black reflects and absorbs.
Forms pass from one to another in an apparent dissolution of the structures whose elements then return to reintegrate in a different or similar way as in a permanent self-imitation.
Without abandoning the line nor the monochrome of my pictorial language, I wanted to do something just a bit different, less content than my usual way of doing, based on rhythmic brushstrokes.
Hence the title, «Soroll.» (Noise)
The theme of my work has always been the search for calm and silence.
Due to the vibe in the print workshop I have been carried away by the sounds that surrounded me,
murmurs, crashes, rock, …….
«MARINA» is the game of light, transparency and opacity.
The movement of water currents generates densities in which light strikes in different ways.
This installation immerses us
in a marine landscape without references of orientation,
in which physical objects do not
seem real
but we can touch
the reflected flashes of light.
«La Llum de la Marina»
Parc Dels Drets Humans
October 2018
Barcelona
Bilbao G. is a project of appropriation of the spaces of the Guggenheim Museum of Bilbao. The building, designed by Frank O. Gehry and inaugurated in 1997, includes part of the collection of the Solomon R. Guggenheim Foundation and represents one of the emblematic buildings of contemporary architecture.
Its sinuous forms configure impossible interior spaces that I link with the geometric abstraction of my work through pieces in steel.
Using the original building plans while respecting the measurements and inclination of the walls I play with them to modify the perception of the interior original rooms.
In nautical terms hogging is the stress a ship’s hull or keel experiences that causes the middle of the ship to bend down slightly, and depending of the level of bend, may cause the hull to crack, the ship to sink, the stranding of a ship on rocks, land or shoal, the destruction of a ship at sea by violent weather, a shipwrecking.
Sometimes it is not the wrecking of the ship that is important, but the fact that we have access to the remains of it.
The installation offers us the experience of a dynamic underwater site subject to the viewer movement that can form a kind of accidental time capsule.
LLEGANDUM
Heisenberg´s Uncertainty Principieestablishes that certain pairs
of mesurements such
as where a particle is and
where it is going,
cannot be precisely pinned down.
Nohing has a definitive position,a definitive trajectory,
or a definitive momentum.
The Toko no ma is a cubicle or recessed wall that is located
in the living rooms of the houses
of Traditional Japanese architecture.
In this space objects that are placed
are not always valuable.
They acquire their prominence thanks to the intelligent shadow game that configures it.
These works are spaces where
the reflections of light bounce in a certain way over those shadows, revealing an ambiguous universe where shadow and light are confused, where diffuse clarity floats,
a particular density.
Tokonoma 4
The space produced is no longer an autonomous and portable piece, now it is conceived to the place where it is located.
In this series of projects the choice of medium, technique or
materials is realized according to the relationship between them
generating sensations of space immersion sought.
Each piece is independent, its own entity and its own rules,
I do not feel the obligation to follow the rules
of the previous work.
