SYSTEMS AND GEOMETRIES [CAAM - LOS BALCONES 11 Y 13]
DANZA DE PIEDRAS (Hildegard Hahn)
UN LUGAR DONDE EL MAR ES (NOBUO ASADA)
SIN TÍTULO 1999 (MARGARITA AMAT)
Juan Uslé
OJO-NIDO
2008
SUEÑO DE SALOMÓN, 2
2008
SOÑÉ QUE REVELABAS (ABIERTO)
2005-2006
Vinyl, dispersion and pigments
Stripes, expressive lines, bright colouring, geometry and abstraction all coexist harmoniously in the magical space of Juan Uslé’s work. They are like maps for an infinite journey where light and darkness are thresholds to something that may be unveiled with an attentive gaze, entrances to a world of darkness and memories. Black and dark works or colourist and bright works. The inner world comes to the fore in a journey of initiation nuanced by memory and by the very landscape we live in, from the intimate to the physical. The movement and the rhythm of the composition define the presence of a winding, tortuous voyage, whose speed accentuates the distortion of the image without having to set our eyes on a single, fixed point. What matters are the crossings, the relationships between the various parts, the broken spaces always suggesting the presence of other things.
Sean Scully
ÁFRICA
1984
Diptych, oil on canvas
SPIRIT
1992
Oil on canvas, metal
A sensuous world of chessboard patterns and coloured stripes comes to life in front of our eyes. The surface of the painting radiates a restrained gestuality, accentuated by a delicate, refined brushstroke. The paintings by Sean Scully demand a slow-motion handcrafted process, a gradual layer by layer progression, accumulating different pigments and transparencies on complementary cold and warm tones. Abstractions arranged in a number of triangles, squares, vertical and horizontal lines, suggesting a complex world transgressing these apparently simple forms. Images evoking barely insinuated signs. Aerial landscapes, seen from the sky, capturing the rugged division of a fragmented territory. Fractions of cities in the midst of the mist and the pollution. Cartographies of our environment revealing a world that seeps inside us.
Joan Hernández Pijuán
MEMORIA DEL SUD
2002
Oil on canvas
TERRES BLANQUES
1996
Oil on canvas
MASPALOMAS
1986
Oil and charcoal - wood
An artist and creator of elemental images allusive to landscape and natural elements, his work is based on compositions using uniform planes of neutral colour over which he draws zigzagging and waving lines, grid forms, rhombi, and perforated circles in a simple though highly expressive language. Hernández Pijuan has no aspiration to render reality as it appears to our eyes, but to transmit the sensations produced when finding ourselves in natural surroundings.
Gregorio González
MAR DE FONDO
2009
Painting
Acuteness of the immaterial geometry which derives from the plane to the volume. Geographical chromatism which shades your day to day. A desire to withdraw. Volumetric discipline. Totem-like presence which makes it possible to think of colour in volume. Pillars which forewarn reason so that the light-colour assumes its most whished for pictorial fate and that allows volumes the opportunity to intervene as adverse reasoning – as an effect against the grain- when such an array of mystical opportunities occurs. Visual poetry, writing which is always ready to allow itself to be moulded by thought. Painting is no other, playing to desire itself in its fullness.
Luis Palmero
SIN TÍTULO
2008
Painting
With a personal vocabulary combining a colourful palette with abstract forms suggesting a certain expressiveness, the work by Luis Palmero does not renounce the luminous trembling that has always defined his work. Sun, sea, rain, houses, streets… are all elements of a landscape on which Luis Palmero has been reflecting for a long time. A careful study of his work will reveal an artist committed to the territory. And not just with the “most natural” expression of that landscape, but also with the geometric vision man has developed to represent nature.
His most recent series explore the reflection of water in ponds, of random plays of light, of movement, of the reverberation of the sun on the waters of the islands. The colour stains have been arranged on the canvas following the rhythms imposed by the wind or by the intensity of the sun at the various times of the day. Abstractions where colour, mark and stains articulate the image and give sense to form.
Néstor Torrens
POLICULTIVO XRT 1001
2009
Installation
Everything comes together in the natural space to give every living being a universal life. The sun, the wind, the earth, water seem to polish every leaf and every fruit.
There is something at once attractive and repulsive about in-vitro plants. Lacking there own native soil and area, they rise towards neon tubes without the voluptuousness of the pure, without the vigorous strength of that which is born struggling for the nourishment lying in the deep strata of the earth.
This creative energy is artificially directed towards a useless and painful state of confusion. There is no future for these plants within the walls of the museum. Transgenic products can drastically change and monopolise the planet’s landscape.
Hildegard Hahn
DANZA DE PIEDRAS
2007
Installation
She represents the north coast of the island of Gran Canaria and its cliffs, sculpted by a dialogue between the basalt rock and geometric structures, wind and sea. They strike one as facades of an archaic building, hiding behind it the secrets of millions of centuries of the history of the planet Earth, what changes and what remains the same.
She pickes up stones that caught he eye among the many scattered along the path for the planned project. She explores their message and intervened on them as little as possible with a rocaflex. She simply wantes to represent stones as fragments of whole mountains in the process of decomposition, of individualisation: a mass in three dimensions, with a visible surface and the rest hidden, even in the knowledge that in point of fact all this interior is in continuous motion. Its apparent fragility is cancelled out by the balance thanks to the omnipresence of gravity, which sustains the cosmos and inspires our imagination.
Nobuo Asada
UN LUGAR DONDE EL MAR ES
2006
Photograpy
A series of photographs by Nobuo Asada, triggers our memories and takes viewers right back to the primordial setting of the ocean. Asada took his camera into the water, snapping photos of what he saw at different times of day and in varying light conditions. The immediacy of the lens viewpoint -- at water level, parallel to the sea’s surface -- seems to plunge the viewer right in, conveying such sensations as the water’s coldness and the movement of the waves.
Commenting on these photographs, shot near his birthplace in Fukui Prefecture, Asada said: “Depending on the time of day, the wind and the action of the waves, the scene is constantly shifting. The essence of the work lies in the variations in shapes that are visible.” Just as Akira Kurosawa’s seminal movie “Rashomon” (1950) stunned Western film critics by offering many points of view of the same event, Asada’s photographs deftly reveal multiple aspects of the same object.
Margarita Amat
SIN TÍTULO
1999
Watercolour, ink, vynil, acetate and thread
A reflection of life, of the intimate, of details is incarnated in a work that celebrates the presence of poetry over and above words and gestures: a withdrawn place between shadows and murmurs where we can reside. Articulated under the protection of linguistic recourses, images and formulas from the scientific world, especially the microscopic universe, this art work strives after the blossoming of secret and suggestive fragments, capable of being transformed into symptoms and sparkles of those areas of our lives that are barely tangible and expressible, ultimately true redoubts of our fragile and slippery identity.